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BARON MUNCHAUSEN True facts about the world's greatest 



MARCH #140 



the son of 



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Wil Wheaton, 

juse tales 

STARM AN Why it lives 

Why it failed 

Eric Stoltz as 

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South, New York, NY 10016. 


MARCH 1989 


Wil Wheaton— Page 65 








in their fiction, Janet & Chris 
Morris look to futures possible 


All David Jackson wanted out of 
"Blake's 7" was a few more lines 


Rex Reason offers his memories 
of Metaluna & movies 


While awaiting poltergeistzation, 
hey, man, he got "Scrooged" 

THERE. . . 

it lurked in front of TV sets, but 
was it an audience? 


Eric Stoltz has a new mask— one 
part man, one part insect 

Baron Munchausen— Page 45 


Charles McKeown writes— from 
"Brazil" with bizarre 


David Greenlee lives the magic of 
"Beauty & the Beast" 


Deep in the Pit, Quatermass 
uncovered man's alien heritage 


They chronicled gangsters, cloud 
minders & space fugitives 



Crowing up on the "Enterprise" 
is both dream & nightmare 

The Fly ll— Page 37 




Farewell, Dr. crusher 



Celebrating "Starman" 






STARLOC is published monthly by O'QUINN STUDIOS, INC., 475 Park Avenue South, New York, n.y. 10016. STARLOG is a registered trademark of O'Quinn Studios, Inc. 
(ISSN 0191-4626) This is issue Number 140, March 1989. content is © copyright 1989 by O'Quinn studios, inc. All rights reserved. Reprint or reproduction in part or 
in whole without the publishers' written permission is strictly forbidden. STARLOC accepts no responsibility for unsolicited manuscripts, photos or other 
materials, but if freelance submittals are accompanied by a self-addressed, stamped envelope, they'll be seriously considered and, If necessary .'returned. Note: 
STARLOC does not publish fiction. Fiction submissions will not be accepted. Products advertised are not necessarily endorsed by STARLOC, and any views express- 
ed in editorial copy are not necessarily those of STARLOC Second class postage paid at New York, NY and additional mailing offices. Subscription rates: $29.97 one 
year (12 issues) delivered in U.S. and Canada, foreign subscriptions S38.99 in U.S. funds only. New subscriptions send directly to STARLOC, 475 Park Avenue South, 
New York NY 10016. Notification of change of address or renewals send to STARLOC Subscription Dept., P.O. Box 132, Mt. Morris, IL 61054-0132. POSTMASTER: Send 
change of address to STARLOC Subscription Dept., P.O. box 132, Mt. Morris, IL 61054-0132. Printed in U.S.A. 




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MARCH 1989 #140 

Business and Editorial Offices: 

O'Quinn Studios, Inc. 

475 Park Avenue South 

New York, NY 10016 



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Advertising Design 

Staff Assistants: Steve Jacobs, Maria Damiani, 
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Contributors: Margaret Baroski, Mel Brooks, 
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Photos: Baron Munchausen: S. Strizzi/Copyright 
1989 Columbia Pictures; Fly II: Theo 
Westenberger/Copyright 1988 20th Century Fox; 
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Burn This! 

If the science fiction universe is burdened with an unfair negative reputation, the 
horror field suffers even worse. As most of you know, we publish FANGORIA, 
a magazine which keeps fans of horror informed about upcoming movies, video 
releases, special FX and makeup techniques, and presents well-researched articles and 
exclusive interviews with the many talented creators who work in that field. For 10 
years, FANGORIA has been to horror what STARLOG is to science fiction — the 
complete source of news, information and entertainment for fans. 

Last year, we launched another horror magazine, GOREZONE — which includes 
material (such as fiction) we didn't have room for in FANGORIA. All three of these 
magazines seem to have reached their audience. They are selling well — the best free- 
market indicator that we are providing customers with something they find valuable. 

But not everyone approves. I want to share with you one of the strongest letters of 
condemnation I have ever received: 

"To Whom It May Concern; 

"I confiscated your trashy GOREZONE magazine from a student in my sixth 
grade class today. I am filled with absolute disgust that you publish such filthW I tore 
the magazine to shreds in front of the class, and I threw the pieces into the fireplace 
and watched it burn when I arrived home. 

"It is obvious that you publish such filth with the intention of making a profit, at 
the cost of warping childrens minds. You are truly sickVA 

"I think your trashy magazine should be against the law." 

Out of courtesy, I have withheld the actual name and address of the schoolteacher 
who wrote this letter. Let's just call her Mrs. Burns. 

Dear Mrs. Burns, our magazine is not against the law. We are protected by the 
First Amendment of the Constitution, which also protects your freedom of speech. 

Since we've just celebrated the 200th Anniversary of the American Constitution, 
perhaps it is appropriate for me to deliver a quick lesson on individual rights. 

Our Founding Fathers recognized that humans are individuals, each with personal 
values and pleasures which are not homogeneous (as in "common"). These wise men 
decided that human variety is good, and that the government should stand firmly in 
the way of society becoming homogenized (as in "milk"). 

The greatest danger of blending humanity into a giant pail of milk, they said, is the 
power of any individual (or group) to force his values upon others. What we want, 
they said, is a Constitution which secures for each individual the right to pursue 
happiness in his or her chosen way — and which prevents anyone who disagrees from 
enforcing their position. Conflicts among people, they reasoned, should be settled by 
logical persuasion or by a court of law — not by coercion. 

Now, Mrs. Burns, in your classroom you have every right to prevent students from 
reading magazines or to present students with your opinions on why they shouldn't 
read certain publications — but in my humble opinion, confiscation and destruction of 
personal property is a violation of the First Amendment. 

Let's talk about "warping children's minds" for a moment. If a child in your class 
sees you take anything from a student by force, what is the lesson that child takes 
away? (Come on now, let's not always see the same hands. . .) 

The lesson is, "Physical force can be justified!" Though I am not a child 
psychologist, it is my opinion that the child who learns such a lesson is likely to be 
the child who strikes a fellow student on the playground when there is a difference of 
opinion. This might be the child who steals or, as an adult, beats his wife and 
children, when he feels he is justified. This might even be the child who becomes a 
political dictator, because he has learned that it is OK to force others to do "what is 
right" — for their own good, of course. 

I believe that your behavior will, sadly, help populate our world with more people 
who are narrow-minded, dictatorial and violent. 

Mrs. Burns, you have a lot of nerve calling us sick! You have a lot of nerve accus- 
ing us of seeking a profit with a tone which implies that making money is an immoral 
goal, rather than the heart of Free Enterprise (another American innovation of which 
you could use a refresher course). 

I want to urge you, Mrs. Burns, to correct your unfortunate public example - by 
apologizing, before the entire class, to the student whose property you burned and by 
offering to replace his copy of GOREZONE. 

If you do, the children's fear of you will be replaced by a new respect. 

— Kerry O'Quinn 

STARLOG/March 1989 5 


Due to the large volume of mail, per- 
sonal replies are impossible. Celebrity 
addresses will not be given out. Mail 
will not be forwarded. No exceptions. 
Other fans & advertisers sometimes 
contact readers whose letters are 
printed here. To avoid this, mark your 
letter "Please Withhold My Address." 
Otherwise, we retain the option to 
print it. Write: 

475 Park Avenue South, 8th Floor, 
New York, NY 10016. 


... I would like to thank you for the fine articles 
about Beauty & the Beast which you have publish- 
ed over the past several months and also for print- 
ing so many delightful letters from fans of the 
show in Communications. I was quite disap- 
pointed however to read in #137 that Linda 
Hamilton has elected not to grant an interview at 
this time; I think she's the greatest actress of all 
time! By the way, I have to point out that you 
were mistaken when you said that she "recently 
spoke to Ladies' Home Journal in a cover story 
interview." I spent two hours at the library yester- 
day searching for this alleged interview, but to no 
avail. You must have meant the cover story in the 
August 1988 issue of Good Housekeeping, in 
which both Linda Hamilton and Ron Perlman 
were interviewed. 

You were quite right in referring her fans to 
Will Murray's interview in FANGORIA #60, 
however. That was the longest and most lavishly 
illustrated Linda Hamilton interview ever publish- 
ed, and the only one in which she recounts her 
early film career, as far as I know, and I highly 
recommend that all serious Linda Hamilton fans 
order this back issue from STARLOG PRESS 




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right away! But again, I have to point out an er- 
ror. This article stated that "Her first movie 
was. . . T.A.G.: The Assassination Game.... 
Then came ... a TV movie, Rape and Marriage." 
In fact, Rape and Marriage was done in 1980, 
whereas T.A.G. was filmed in 1981 and released 
in 1982. However, T.A.G. was Hamilton's first 
film made for theatrical release; and her many 
fans may be interested to know that she met her 
husband, actor Bruce (Re-Animator) Abbott, 
while they were working on this film together. 
Abbott plays the bad guy in T.A.G. 

Bruce Sawyer 

3923 Addicks Clodine 

Houston, TX 77082 

Oops! Our apologies to Good Housekeeping. 
Hamilton also recently talked with TV Guide. 

Other corrections: Writer Jean Airey reports 
that Colin Baker played Bluebeard, not 
Blackbeard as colorfully announced in 
STARLOG #132. 

There are two errors, as noted by writer Bob 
Miller, in his Ewoks/Droids episode guide 
published in STARLOG YEARBOOK #3. 
Episode #7 is "The Pirates of Tarnoonga, " not 
"The Princess of Tarnoonga. "And the villainess 
is Jaydru the Enchantress, not Jaydu. 

Missing credits seem to be the theme of 
MAGAZINE tfl. Steve Swires' name was left off 
the edition's masthead as a reviewer, despite his 
numerous review contributions to the issue. And 
Tim Lucas' byline was inadvertently missing from 
two reviews — erroneously attributed to fellow 
reviewer Dr. Cyclops instead. Lucas actually pen- 
ned the reviews of the remakes of The Fly and 
The Thing. 

STARLOG regrets the errors. 


...In issue #134, you stated in Medialog that 
Gates McFadden is also going to leave Star Trek: 
The Next Generation. I don't see why Paramount 
even let that be said to the media, especially since 
their answer to the question "Why is she 
leaving?" was "No comment." Why even print 
that tidbit? Trek fans want to know why any of 
the characters are leaving, not just the fact that 
they are. As a recent fan of Star Trek, (as of last 
year), I am greatly disappointed. 

Of the three original female characters, Gates 
McFadden truly had the best part as Crusher. 
Crusher had a growing romance with Picard, she 
had a brilliant son, and her character was very 
strong and didn't take no for an answer. To lose a 
person like this is a mistake. 

Andrea Demianczyk 

8014 Pickett Lane 

Clay, NY 13041 

. . .Scenario: Dr. Beverly Crusher is relieved of 
her duties on board the starship Enterprise in an 
episode entitled "The Big Mistake." The Enter- 
prise's shields are weakened as great numbers of 
female SF fans (and many male renegades also) 
desert the Federation in search of stories like 
ALIEN and Terminator in which strong yet 
unabrasive female characters are considered too 
important to be eliminated or replaced (even by 
other females). 

Just before L.A.R. (Loss of Advertiser 
Revenue) torpedoes can completely cripple the 
Enterprise, top Federation officers detect and cor- 

rect the computer malfunction that had made the 
reassignment (casting) error. Chief Medical Of- 
ficer Crusher is reinstated on board the Enterprise 
in an episode entitled "We Live and Learn" or 
"What's Up, Doc?" 

The Enterprise sails on through an enlightened 

Deborah A. Schroeder 

871 Crescent Lane 

Hartland, WI 53029 

. . . Why is the doctor on the Bridge all the time? 
She should be in Sick Bay like any good doctor 
would be. In the original series, I got the impres- 
sion Dr. McCoy (DeForest Kelley) was on the 
Bridge because he was a friend and companion to 
the captain as well as being the ship's 
psychologist. But Counselor Troi is the ship's 
psychologist now and on the Bridge. Dr. Beverly 
Crusher (Gates McFadden) should be Captain 
Jean-Luc Picard's (Patrick Stewart) "close 
friend" and "companion," but not with a perma- 
nent seat on the Bridge. She has a much larger 
department to run, unlike Dr. McCoy, with 
women and children to take care of. She should 
visit the Bridge when needed or on occasion to say 
"hello" to the captain. 

And where did they get the actress who plays 
Beverly? Gates McFadden is pretty and slim but 
she's over-acting. Well, not over-acting, but over- 
dramatizing every line she says. I know she has 
lots of experience but isn't that with the stage? 
She must realize acting on the stage is different 
than acting on the small screen. 

Judi Prasinos 

Address Withheld 

. . .In Medialog in STARLOG #134, there was 
something that surprised me. STARLOG claims 
that "according to Denise Crosby, who left the 
series in the spring, and Marina Sirtis, the series' 
female regulars have been, in general, not totally 
pleased with their roles." From everything else I 
read, Star Trek: The Next Generation's cast 
seems, for the most part, satisfied. Gates McFad- 
den has stated, "All the roles for women on the 
show are good ones. One thing is certain, the 
women of The Next Generation are not being 
dismissed as token characters who just look good 
in a jumpsuit. Their roles are very real and very 

Marina Sirtis echoes her words, "Whenever 1 
wonder 'When am I going to do something dif- 
ferent?', they hit me with something new so it 
doesn't actually get boring." Granted, Crosby 
and McFadden left. But until we find out why 
McFadden left, don't jump to conclusions and 
say it is because she was not satisfied with her 
part. She could have been fired (a mistake) or a 
money dispute. Crosby was displeased, but that 
doesn't mean that everyone else was, too. 

Brian Thomas 

Ansonia, CT 

Thanks for your comment, but we stand by our 
report (i.e. that they were "in general, not totally 
pleased with their roles"). Those words were 
carefully chosen. We never jumped to the conclu- 
sion that McFadden left due to that reason. As we 
have reported, leaving the show was not her idea. 

... In response to Angele Egarhos' letter in the 
October issue of STARLOG, one point she 
brought up was the cancellation of Beverly 

6 STARLOG/MarcA 1989 

Crusher from The Next Generation. I, too, am 
greatly disappointed to hear that there will be no 
more Beverly Crusher on the Enterprise. Among 
other things, I will miss the smile that she brought 
to the Bridge, as few others would (sure, Wes did, 
but that's a smile of the ridiculous). I'll also miss 
her general personality, that glow that seemed to 
surround her wherever she went. She had a kind 
word for just about anybody, yet was still the 
strongest of wills on the Enterprise. (Why can't 
we have doctors like this in the 20th century?) 

However, I fail to see where Egarhos got this 
mound of bull that Gates McFadden herself chose 
to leave the show. That is absolutely false. Here 
now for the record, is a quote from a letter I 
received from Paramount. It says "the staff 
decided to try a different characterization for our 
ship's doctor." The staff, not McFadden, decided 
to cancel Beverly Crusher. I wonder when the 
TNG staff will figure out that fans really don't 
like having their favorite characters cancelled. If 
this continues, they might as well scrap the whole 

Travis Scott 

2202 So. 65th Street 

West Allis, WI 

... I was shocked by Gene Roddenberry's deci- 
sion to write the character of Dr. Beverly Crusher 
out of ST:TNG\ She was one of the best 
characters in the series. If anything, the character 
needed to be developed and expanded, not 
eliminated. There was unlimited potential for 
strong personal relationships to develop between 
her and other crew members, not the least of 
which was Captain Picard. 

I would not want this show to turn into a 
".Dwos/y-in-space," but the one thing that has 

made it different from the original Star Trek is its 
careful development of each character into a 
three-dimensional person with human weaknesses 
as well as strengths. Each character has a past 
which affects who they are in the present. This is 
something that was not really explored in the 
original series. 

The reason that Dr. Crusher was written out of 
the series was, according to Roddenberry, that the 
character was not developing the way he had 
planned. That is an ambiguous statement. He said 
it was his decision alone and that the decision was 
irrevocable. He is the show's creator and I've been 
pleased with most everything else he has done 
concerning this show, but I take exception to this 

I don't know what Roddenberry is looking for 
here, but if you ask me, it should be a change in 
writing to mold Dr. Crusher into what he wants 
and not a complete change in character. Personal- 
ly, I think she was fine the way she was, with the 
exception that she needed to lighten up a little and 
not be quite so reserved. 

K.L. Eagles 

Address Withheld 

. . . With the departures of Denise Crosby, Gates 
McFadden, and now, senior consulting illustrator 
Andrew Probert and others, the writing is 
definitely on the wall! The only question is just 
when will Gene Roddenberry wake up and realize , 
that his precious Star Trek: The Next Generation j 
is in danger of becoming extinct, if it continues 
its present course! 

Finally, if there ever was the last word — or 

in this particular case, artwork — about women 

who are merely treated as second-class glorified 

(continued on page 70) 


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No, this isn't what Gotham City crime 
bosses are wearing these days— it's Jack 
Palance acting just as villainous against 
Buck Rogers. 


Once again, it's goodbye to an alien. 
Something Is Out There was cancelled 
by NBC at presstime. Just what went wrong 
with this SF-TV series is explored on page 
34. The network's Jim Henson Hour was 
targeted as the new Friday 8 p.m. program, 
slated to premiere January 13. This new 
Henson anthology will include regular Mup- 
pet schtick and variety acts introduced by 
host Kermit the Frog alongside a bunch of 
8 new Muppet faces (and comprising roughly 

1 the first half-hour of each show). The se- 
>. cond half will focus on fantasy, featuring 

2 the type of genre-oriented Muppet creations 
e seen in The Dark Crystal and Labyrinth as 
i well as further installments of The 
| Storyteller starring John Hurt (STARLOG 
1 #93). 

£ Updates: The latest Henson film, The 

Z Witches, directed by Nicholas {The Man 

& Who Fell to Earth) Roeg and based on 

§■ Roald Dahl's book has suddenly been 

y scheduled for release. It'll premiere in 

I March. Anjelica {Captain EO) Huston stars. 

e Also just added to theater schedules for 

g> release next month is Leviathan. The 

* MGM/UA entry in the underwater alien 

| mini-trend, directed by George Pan 

Cosmatos, stars Peter {RoboCop) Weller, 

Amanda {Max Headroom) Pays, Richard 

{Body Heat) Crenna and Ernie 

{Ghost busters) Hudson. 

Actually, despite last issue's report, Phil 
Nibbelink has not yet signed a contract re: 
An American Tail 2, so it's unclear whether 
his official title will be directing animator or 
something else. 

The storyline apparently complete, Gates 
McFadden is no longer on All My Children. 
In late fall, she opened in a NYC production 
of Emerald City. 

According to Patrick Stewart, his major 
missing scenes were all restored in the TV 
version of Dune. In an interview 
(STARLOG #139) conducted before he had 
seen the re-edited TV Dune, Stewart said 
that he hoped the scenes missing from the 
film's final cut would one day be seen. (And 
by the way, a caption in #139 to the con- 
trary, those elfin aliens spell their name, 
Bynar with a "y".) 

It is known that Ridley Scott — who was 
or wasn't going to direct it — has not signed a 
contract for ALIEN III. Now, our sister 
magazine FANGORIA reveals that the 
directorial assignment on ALIEN ///will go 
to Renny {Nightmare on Elm Street Part 4) 
Harlin. One version of the script included a 
brief cameo for Ripley (Sigourney Weaver) 
and Newt (Carrie Henn), though those ac- 
tresses have not yet signed to appear. This 
draft, by SF author William Gibson, focuses 
on both Hicks (Michael Biehn) and Bishop 
(Lance Henriksen), although it's also 
premature to assume that either actor would 
reprise their roles or that those characters 
would remain in the story throughout the in- 
evitable script revisions. 

Comics Scene: The Return of Swamp 
Thing has finished filming. No release date 
is yet set, though April is a possibility. In the 
meantime, Lightyear Entertainment is 
developing a Swamp Thing animated series 
spin-off. Writer Linda Woolverton is work- 
ing on the cartoon muck monster. 

And Nick Fury, Agent of S.H.I.E.L.D. 
may yet get on the silver screen. The Marvel 
Comics superspy, popularized by writer/ar- 
tist Jim Steranko in the '60s, has long been 
in the works as a live-action film. Lynn Obst 
is producing. Greg Pruss has scripted. Now, 
there's a director on board — Stephen Herek 
(interviewed in STARLOG YEARBOOK 
#3). At one time, Herek was signed to direct 
The Shadow film. He has already helmed 
two genre entries, Critters and Bill and Ted's 
Excellent Adventure (the delayed fantasy, 
comedy, now due out February 17). 

Character Castings: Rick Moranis is back 
hanging around the poltergeistologists for 
Ghostbusters II (not yet officially known by 
another title). He once again plays the nerdy 
Louis. Moranis (interviewed in STARLOG 
#86) will also be on hand this summer in 
Disney's entry in the Innerspace 
sweepstakes, backyard division, Hey, 
Honey! I've Shrunk the Kids. 

8 STARLOG/Mo/rA 1989 


All dates are extremely subject to 
change. Movies deemed especially ten- 
tative are denoted by asterisks. Changes are 
reported in Medialog "Updates." 

February: The Fly II, 976-EVIL , Bill & 
Ted's Excellent Adventure. 

March: The Adventures of Baron Mun- 
chausen, Fright Night 2, The Rescuers (re- 
release), The Witches*, Leviathan. 

Spring: Second Sight, Millennium, 
Spider-Man*, The Return of Swamp 
Thing*, The Wicked Stepmother, Martians, 
Go Home, Babar. 

May: Indiana Jones & the Last Crusade. 

June: Star Trek V: The Final Frontier. 

July: Batman, The Abyss. 

Summer: The Last of the Ghostbusters* , 
Back to the Future II*, License Revoked, 
Hey, Honey! I've Shrunk the Kids*, The 
Punisher* , The Nightbreed* . 

October: Friday the 13th, Part VIII*. 

Winter: The Little Mermaid, Strat, Room 
at the End of the Universe, Upworld* . 


Denlse Crosby, late of Star Trek: The Next Generation, enjoys a quiet moment on the 
set with co-star Dale Midkiff and stunt cat. Midkiff and Crosby star as the pro- 
tagonists of the film version of Stephen King's grimmest novel, Pet Sematary. It's due 
in theaters soon. For more behind-the-scenes info, see FANGORIA #81 (now on sale). 

Catherine Mary Stewart (STARLOG 
#116) is starring in the comedy Hot and 
Cold. She gets involved with Andrew (Man- 
nequin) McCarthy and Jonathan (Brighton 
Beach Memoirs) Silverman, who play vaca- 
tioning clerks trying to have a good time, 

even though their boss (and weekend host) 
has just been offed by a hitman. 

Mary (Eating Raoul) Woronov 
(STARLOG #102) co-stars with Richard 
Dreyfuss in Let It Ride. 

RoboCop's Kurtwood Smith 

(STARLOG #129) teams with Robin 
Williams in The Dead Poet's Society. Peter 
(Witness) Weir is directing. 

Believe it or not! Shane's Jack Palance 

portrays a crime boss in Batman. Also in the 

(continued on page 73) 



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to Hell & Back with 
Janet & Chris Morris 


Taking "Active Measures" against encroaching formula fiction, the 
authors book an "Outpassageltg the worlds of the possible. 


evolution" is synonymous with both 
science fiction and Janet Morris. 
Just as science fiction forever 
altered how man views his uneasy marriage 
with machines, novelists Janet and Chris 
Morris are trying to change the genre itself. 
Janet's interest in science fiction began 
with a copy of If magazine her father 
bought for his "precocious child" when she 
was seven years old. She had already read all 
of the mythology in three libraries within 
driving distance. But it was this voracious 
interest that would lead to her successful 
career as the author of a score of novels that 
include Kill Ratio, Earth Dreams, The Little 
He Iliad, Active Measures, MEDUSA and 
After War. But, oddly enough, it was her 
marriage to Chris Morris and their shared 
love of music that first brought the novelist 
into the spotlight. 

"We were heavily involved in rock and 
roll in the late '60s," says Janet, "and had a 
record album when I was 19, with Chris." 
"I did an album produced by Al Kooper 
in 1978," notes Chris Morris, "and it was a 
top album pick in Billboard. It was my 
band, the Chris Morris Band. It was all my 

Above: Janet & Chris 
shared universes and 
keep the gents fresh. 

Homer's version of the devil rules In The Little Helliad as part of Heroes in Hell. 
10 STARLOG/Marc/i 1989 

1 Returning Creation, the first Slllstra 
° volume, caused quite a commotion In the 
< SF community due to its explicit depiction 
of the heroine's sexual escapades. 

material except for one Otis Redding song. 
It was kind of R & B rock, and it did well 
locally in Boston and played on seven 
middle-of-the-road stations." 

Although no single from this album 
became a hit, and despite their success in 
science fiction, the Morrises haven't aban- 
doned music. They produce their own tapes 
now at home on a 16-track recorder with a 
mini-computer set-up. It is an interest, 
however, that doesn't spill over into their 

Their credo is to live, and then write. 
Janet is deeply worried that writing just 
from heavy reading becomes derivative and 
weakens the genre she so passionately loves. 
In fact, her realistic use of sex in her first 
novel, about a prostitute's rise to power on 
an alien world, shocked the science-fiction 

"The Silistra series was probably the first 
to feature a prominent female heroine who 
had real sex with people," grins Chris. "We 
caught a lot of flak in the early days, '75 and 
'76, for being dirty as hell." 

"The sexual revolution hadn't hit the 
science-fiction community, and then we 
came in and blew it wide open," Janet adds. 
"But being the first woman to write stuff 
for its time, and looking the way I do, I had 
some very unpleasant experiences. A 
bookseller in Los Angeles said to me, 'Yes, 
your books are doing well; these dirty little 
hands come with their slimy dollars and 
crawl over my counter.' My feelings were 
hurt because I don't think those books were 
in any way dirty. We were interested in 
sociobiology at that time, and we were talk- 
ing about what was hardwire in a post- 
liberated society." 

The question she addressed in the Silistra 
series was what do you do if you're a very 
powerful female in a relationship with a 
man, and what new balances are struck? 
The response she received, however, was a 
request for three additional pages of erotic 
passages for the French edition of the first 
novel in that series. 

Reaching for Heaven 

Despite the commercial success of the 
Silistra saga, Morris became so disen- 
chanted with the science-fiction community 
that she withdrew from it and let her novels 
"speak for themselves." She had written the 
trilogy without an agent and without a sure 
sell because of the strength of her convic- 
tions, a strength undiminished today. 

"I want to make fiction modern because I 
think the novel itself is in danger as a form. 
It's still trying to be a 19th century art form 
in the 20th century. In our novel, Out- 
passage, we tried a very telegraphic and ab- 
breviated approach. We're treating science- 
fiction themes as if they were current. We're 
not over-informing, and we're trying to do 
very fast character introductions, very 
strong character development." 

The Morrises' dedication to research and 
to stretching the boundaries of science fic- 
tion has often blurred genre definitions. In 
fact, The 40 Minute War, Warlord and Ac- 
tive Measures were reviewed as mainstream 

"There is nothing harder in the world than 

maintaining your integrity in shared 

universes," notes Janet Morris of her 

travels through such places. 

fiction to the dismay of image conscious 

"We wanted to do a realistic novel about 
what might happen [after a nuclear 
holocaust]," says Janet of The 40 Minute 
War. "Oftimes, we want to counteract the 
stereotypes or inject information as an in- 
noculation so that people aren't 
manipulated. The problem with a nuclear 
war isn't that everyone is going to die, but 
that most people are going to live. Warlord 
was drawn from actual time tables that 
various governments have — by what date do 
they plan to have permanent settlements on 
the Moon, how do you want to set this up 
and really get the materials, etc. And I 
thought, 'Well, OK, given this and given the 
current course of events, what would hap- 
pen politically in a situation like that?' 

"Chris and I do write other things," she 
admits. "We have a male pseudonym that 
makes a lot of money. He writes 
mainstream political thrillers that are even 
more hard-edged than what we do for 
science fiction. SF, by its very nature, is 
positive because it does believe there will be 
a future. You can't write a book about the 
end of everything very many times." 

Both Janet and Chris Morris believe that 
the movies have been a double-edged sword 
when it comes to the genre. "We feel that 
the movie Star Wars," she says, "although 
it was a fine movie, has brought many peo- 
ple into the field who will write anything for 
money, and have looked at 10 science- 
fiction books and derived a formula. And 
they're writing, in essence, garbage. Science 
fiction was the last place where you didn't 
have to write formula, where you could do 
experimental fiction. And that's what we 
want to do. 

"Movies often have a problem with story, 
and if the story isn't good, I'm not going to 
enjoy it no matter how good the effects are. 
And, right now, we're in a period where 
there are all these wonderful effects, and 
they're leaning a little heavily on the effects 
and going very light on the characters." 

Consequently, "We're writing a movie, 
and we have a producer," she reveals. "And 
I like it so much that I'm gong to write a 
novel as well from the premise. It's on 
psychic warfare, psychotronics. I also really 
think that I would love to do a TV series. 
My agent tells me I have to do a two-hour 
pilot. It's an entirely different audience; it's 
not the reading audience. We don't like to 
see people manipulated, and we can't reach 
people who don't read books. Therefore, we 
have to reach them another way." 

In Beyond the Veil, Dream Dancers and 
Cruiser Dreams, as in all her work, Janet 
Morris' characters are sharply defined and 

Tempus and Nlko return to face a 

warlock's wrath In City at the Edge of 

Time as Janet and Chris Morris also head 

for new frontiers. 

The authors have chosen not to pigeonhole 
from the sensual Slllstra saga to the grittier 

have the same failings and ethical shortcom- 
ings as their real, present-day counterparts, 
her readers. Does she believe we will ever 
evolve morally as well as technically in the 
future? "If you think that we're behaving as 
ethically as my characters, I would be really 
pleased. I think that we can't becpme dif- 
ferent than we are. We're always going to 
behave in a chain, and some of us are always 
going to be better than others. But this par- 
ticular society at this time has a great lack of 
ethical structure. It may be a result of what 
happened in the 1960s, and what the kids 
were taught thereafter. The generation right 
under us was told, 'Don't be a hippie.' They 

MICHAEL VANCE, Oklahoma-based 
writer, profiled C.J. Cherry h in STARLOG 
#133-134. He is currently writing Straw 
Men, a graphic novel on genetic engineering 
for Renegade Press. 

themselves within the genre by going 
backdrop of MEDUSA (inset). 

were taught to act in a different way because 
those who were doing it were very afraid of 
the way we were behaving." 

Nor does Janet believe that mishandled 
technology will eventually destroy its 
masters. "No one is going to dirty his own 
nest. There's no place for the perpetrators to 
stand while they destroy the rest of humani- 
ty! If they want to destroy their enemies in 
order to acquire what their enemies have, 
there has to be something left!" 

She illustrates this belief with the fact that 
the fireballs of the 15th century were con- 
sidered a doomsday weapon in their time 
and were thought to surely usher in the end 
of the world. "And when you got the 
Bubonic Plague-infested rat and chucked 
that over the other guy's wall, that was real- 
ly bad. Biological warfare. We survived all 
of that. 

"I have this narrow specialty in history, 

and I'm pretty strong back to 3500 B.C. 
What I see is a tremendous amount of 
similarity. There's not a great deal of dif- 
ference in the way we handle ourselves in 
reactions to danger, in fight and flight, in 
our reactions to being controlled and con- 
trolling others now than existed then. I 
would like to see us becoming better at being 
human. Actually, Outpassage is about that. 
But that involves a certain degree of in- 
trospection that only a novel can bring 
unless we are going to teach ethics. And if 
we're not going to teach ethics, who's going 
to teach them in this society?" 

Some of her best known works are set 
within the shared universes of Heroes in Hell 
and Thieves' World. She attributes the con- 
cept of shared universes to Robert Asprin, 
although several literary groups in the Soviet 
Union have written under the same formula. 
"I doubt that they [the Soviet writers] ad- 
ded to the literary derivation that was pitch- 
ed to me by Bob," she laughs, "which was a 
town that was the armpit of the universe 
where Conan could walk around a corner 
and run into Elric. I've been through four of 
them, and there is nothing harder in the 
world than maintaining your integrity in 
shared universes. Everyone is free to blow 
the other guy out of the water with the best 
possible story, and yet advance the plot." 

For her own shared universe series, 
Heroes in Hell, which co-creator C.J. Cher- 
ryh described in STARLOG #133 and 134, 
she has developed a Satan who is not a sim- 
ple black and white. devil. 

"I had to do a paper on Dante's Inferno 

in college, so I read it. I mean, I really read 

it. I'm not sure if it's all that different in 

relation to its culture as this hell is to ours. I 

I think that they relate, but our devil is the 

5 devil who was cast out of heaven and really 

« wants to go back. We are always seeing that 

~~ devil through the eyes of someone, so 

Homer's vision of the devil is much more 

•5 devilish than Nichol's or Welch's or one of 

3j the modern characters, and Satan will 

J change with them. 

'The Hell series was meant to allow more 
freedom, to avoid the problems I had in 
Thieves' World between the writers by hav- 
ing a broader frame, and to teach some 
history where I think history is not being 
taught. Every culture from the beginning of 
time that I've studied which left a written 
record has posited a heaven and hell, so 
there is something very deep about it." 

Alexander the Great and Caesar will 
return soon in a new Hell novel. A new 
novel titled City at the Edge of Time, featur- 
ing Tempus, her Thieves' World hero, and 
Target, a sequel to Kill Ratio, are also on the 
way. But whatever the future holds for the 
novelist who believes that "self-discovery 
does not happen in a velvet box," it is cer- 
tain that Janet Morris will continue breaking 
new barriers in the ongoing revolution of 
science fiction. 

"I want to get science fiction back to 
what it was when I was young," she states, 
"which was a literature of possible futures, 
not a literature of impossible futures. Im- 
possible futures are boring." & 

12 STARLOG/Marc/i 1989 


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David Jackson 

Fallen Freedom Fighter 

The Federation wanted his hide, but all this 
gentle giant ever asked for was a few more 



ow can a man who stands 6'3" and 
weighs some 200 pounds be over- 
looked? David Jackson, who 
played the part of the gentle giant Gan on 
Blake's 7, knows the answer. "In one of the 
first readings we had, 1 said, 'The trouble 
with strong, silent characters in television 
terms is that unless you're the star or having 
something written into the script for you to 
do, the camera's going to go to the person 
speaking.' " Unfortunately, Gan was 
doomed to be the strong, silent type. 

Settling his imposing figure more comfor- 
tably into the sofa in a London hotel lobby, 
Jackson adds in a soft, melodious voice, 
"They [TV directors] don't go very much 
for reaction shots. They haven't the time or 
the space; they have to go for the action." 

He should know. For one-and-a-half 
seasons, from 1978 to 1979, he played the 
part of a man destined to remain in the 
background, a role limited from its concep- 
tion. "I think of Gan as the equivalent of 
the ordinary fellow, somebody who's able to 
drive a car or ride a bicycle or change a fuse, 
but if the television went off, he would have 
to call in an engineer." 

But Gan wasn't just a normal human who 
was as slow to anger as to understand com- 
plex things; he had been surgically altered by 
having an electronic device implanted in the 
top of his skull and wired to his brain. 
Whenever he would try to attack or kill, the 
"limiter" sent an electric shock into his ner- 
vous system, incapacitating him. 

Jackson felt confined even before the 
show got on the air as he tried to add that 
something extra to help his character. "I 
said from the beginning that unless the 
limiter was removed, Gan was a liability 
because he didn't have any special skills. 
You didn't need somebody with super 
strength to break open the door when you 
had a laser gun to do it for you. He wasn't 
able to contribute anything. He more or less 
had to stay in the back row, watching what 
was going on. So I said, unless you could 
remove the limiter to give him some func- 
tion, all you could do would be to make him 
into a sort of 'Bones' from Star Trek. At 
least, he would be able to use the [ship's] 
healing devices." 

Undaunted by his own analysis, Jackson 
promptly filled in a background for Gan 
from the sketchy notes given in the first 
scripts. "With a pilot, you've got these 
characters who could be anything, go 
anywhere. They're introduced, you know 
what they look like, how they sound, how 
they relate to each other, but you don't 
know about them. You don't quite know 
how the characters are going to turn out. 
You fill in information given, turn on the 
computers and say, 'How is this character 
going to develop or behave?' You feed in 
raw information and extrapolate what you 
think might happen to him. You sketch in 
the subtext background. I fill in the 

Despite his station on the Liberator, "Gan 
never had a function," Jackson notes. "If 
you have an electronic society, you don't 
need a Neanderthal." 

STARLOG/March 1989 15 

character's background in every role. 

"I met an awful lot of Americans in the 
'60s and early '70s here in England; it was 
the end of the hippy wave, the flower-power 
thing, and they were all looking for 
something. They were interested in the 
Tarot, the I-Ching, astrology, palmistry and 
many other things. When it came to the 
character of Gan, I thought of his 
wife — there was a wife and two children in 
the original text [changed to his "woman" 
when the series aired], who were killed by 
the guards [Federation troopers]. She could 

ficult to write for you.' So, Vere Lorimer 
[semi-regular director throughout the first 
three seasons and fourth season 
producer] — the man doesn't get enough 
credit, he really worked his socks off — put 
in a fight scene, something for me to do to 
be there. I'm very grateful to Vere because 
when I didn't have very much to do, he 
would find something for me." 

Still, the writing was on the wall, if not in 
the scripts, and something had to give. Go- 
ing into the second season, it was common 
knowledge that one character would have to 

Jackson notes that he, Michael Keating, Jan Chappell, Gareth Thomas, Sally Knyvette 
and Paul Darrow "were very solicitous of each other's welfare." 

have been one of those people who went in- 
to alternative philosophies, possibly even 
magic and mysticism. Therefore, the State 
had clamped down on this and the people 
who went along to carry out the rules — to 
smash up her Tarot deck and throw away 
whatever weeds she was growing in the 
garden — they might have 'gone over the 
top' and pressed the wrong trigger. You 
don't have to make the troopers into ab- 
solute monsters, but they could kill." 

Lost in the Shuffle 

With his newly formed background firm- 
ly in mind, Jackson started to try to make 
his "strong, silent" character more than just 
a foil for the others. It wasn't easy. "In one 
of the episodes, we had a read-through and I 
said, 'I've got five lines in this. What can I 
do with five lines?' It was a Chris Boucher 
episode [Boucher was the series' Script 
Editor for all four years of Blake's 7 and 
also wrote occasional episodes]. Boucher 
said, 'I find it very difficult to write for Gan. 
I find it easier to write for Paul [Darrow, 
STARLOG #116] and Jan Chappell's 
[STARLOG #126] characters. It's very dif- 

veteran STARLOG correspondents, are 
the authors o/Travel without the TARDIS 
(Target, $3.25). They profiled Brian 
Croucher in STARLOG #138. 

go, the only question being "Who?" 
Michael Keating (STARLOG #118) thought 
it might be him. A rather rueful grin breaks 
over Jackson's face at that thought. 

"Well, Vila at least could open locks and 
things, while Gan never had a function," he 
remarks. "If you have a character who had 
an epileptic fit every time he tried to kill 
somebody, I mean, it's got to be very dif- 
ficult. What are they going to give him to 
do? Mind the store while they go out and 
rustle the cattle? What can he do? If you 
have an electronic society, you don't need a 

Jackson and the other cast members had 
no time to immerse themselves in gloom 
wondering about their careers. "It was a 
very close time, it was literally a seven-day 
week, calling each other and discussing 
things. We really did work very hard." 

Not only was the schedule grueling, but 
location shooting and special effects were 
difficult, to say the least. In Jackson's final 
episode, the four male leads had to run 
across a booby-trapped field to get to the 
Federation's central computer nexus. To 
simulate the supposedly electrically-charged 
surveillance/repellent perimeter, the special 
FX people had planted small charges that 
they planned to set off as the actors ran 
past. Jackson remembers the scene vividly. 
When informed of the "small" changes, he 
and Gareth Thomas (STARLOG #139), 

Darrow and Keating, approached the special 
FX man. 

"We said, 'How much of a charge?' And 
he said, 'Just a little bit of Fuller's Earth.' I 
said, 'Well, could we possibly see one going 
off?' He said, 'Oh, yes, yes!' We said, 
'Could we actually have someone on top?' 
So, they put a dummy on top with metal 
running through it, a skeleton of metal, on 
top of a charge just to see what would hap- 
pen. The charge went off and this body 
went up in the air about three feet and it 
went — " he makes a horrible, shattering 
noise and twists his hands, indicating the 
dummy's dreadful demise, " — Nasty! 
Broken robot! 

"I said, 'What do you think, Paul? 
You've got to run through more of it than 
we have, what do you think?' And he said, 
'Well ... I think we should, err, have less ex- 
plosive!' 'Oh, well,' " Jackson mimics the 
FX man's reluctant agreement, " 'if you 
want . . . ' Paul still had double the running 
that we had. I dashed through it with Mike, 
but Paul had a slightly different route. He 
had to go through it like a bat out of hell!" 

Even some nine years later, he still finds 
some of the show's writing puzzling. "They 
never psychologically worked out the rela- 
tionships between Avon and Gan," Jackson 
comments. "You see, being the sort of per- 
son he was, Avon was always making snide 
remarks about Vila or Gan. It was wrong 
that at some point, somebody didn't say [to 
Avon], 'Watch it. One more like that and 
I'll knock your block off.' If you say that 
Gan has a lot of strength and can take a 
tremendous amount of punishment, the 
point finally comes at which — he's not going 
to kill that person thanks to the epileptic 
fit — but he might have to strike out. And 
Vila, too. If you keep trampling on him, 
well, he started out as a kind of space rat, 
didn't he? He would put a shiv in you to get 
his own back, to defend himself. You've got 
to try and make sense of the character." 

He also found some differences between 
the first and second seasons. "You start out 
with the various backgrounds and after a 
while, you can take away the dross. What 
we were trying to do was, I think, show 
Gan's dark side and both the dark and 
bright sides to Paul's character. When 
you're actually in a situation of life and 
death, you're all soldiers together. You 
forget someone has smelly feet or that 
somebody wears their hair too long. It's all 
dross, all rubbish. You get the essentials. I 
think that's what we were aiming for at the 
beginning. We actually tried to set out to 
make something 'different.' " 

A Pace in the Crowd 

Shortly into the second season, Jackson 
got the bad news. Gan was going to be the 
first casualty of the original seven. His 
friend Brian (Flash Gordon) Blessed, well 
known for his "over-the-top, scenery- 
chewing" style of acting, advised Jackson to 
"milk it for all it was worth!" But that op- 
portunity turned out to be somewhat 
limited. "We were doing it in dress rehear- 
sal, and some people came in to look at us. 

16 STARLOG/Mo/r/; 1989 

We all tried to 'act' a little — you know, run- 
ning along corridors and whatever. I was 
wearing sneakers and I did a slide and a fall 
or something when I was coming down the 
hall and I pulled the muscles in my ankle. 
Then, we went into the studios the next day. 
I was all strapped up and in agony with my 
ankle twice its normal size. I had to do all 
the swinging along the bars and traveling up 
the ladders and things with my ankle bound 
up really tightly— in a horse bandage. And 
after all that, I had to do my death scene at 
the end of the day in about three minutes!" 

His involvement with science fiction con- 
siderably preceded Blake's 7, first with a 
love of the "classic" written SF of the '50s 
and '60s ("I've read it all!") and then with 
appearances in two episodes of Space: 1999. 

Cast as an alien in "The Rules of Luton," 
he immediately started to change and 
modify his character. "They had this outfit 
for me which looked like a teddy bear— and 
I had this big fight scene. I said, 'It doesn't 
look very menacing. I mean, a teddy 
bearV " I said, 'You've got this one alien 
who looks like a bird, like Osiris the god, 
and this other character. Why not make him 
the teddy bear, because he gets killed very 
quickly, and I could be ... a lizard ! ' So, they 
got a lizard half-mask for me, long, green 
and scaly, a long droopy moustache, long 
sort of patchy dark hair and," he speaks 
with relish, "lots of black leather and 
crocodile skin! I was given the power of 
speech by the gods of the planet, whom I 
also played." 

In talking to the director, Jackson also 
came up with another bit of business. "I 
said, 'If the gods of the planet gave me this 
voice, I would still have vocal cords that 
were tuned to whatever a crocodile-like 
beast's might be tuned to, and it would be 
rather like a person from Japan trying to 
speak English. 

"So," he continues- in his normal, smooth 
voice, "the words should come out in a sort 
of strangulation, trying to get through those 
strange vocal cords. And I played it like 

He was told he had done such a good job 
of disguising himself and his voice that the 
producers wanted him to come back and 
play another alien some months later in 
"The Bringers of Wonder." When Jackson 
showed up, his costume had been changed 
and he was able to do his entire part from 
off-screen. "They gave me the script, and I 
didn't even have to memorize it!" He was 
told, " 'Your character is actually a seven- 
foot tent with blood vessels and eyes on the 
outside of it and it can grow up to nine 
feet.' " Faced with that bit of information, 
Jackson was more than happy to leave the 
actual manipulation of the creature to 
another. "They had a fellow about my size 
inside, dressed in a swim suit, sweating like 
anything, manipulating this [thing that was] 
more like a teepee than a pyramid. It kept 
going up and down and sweating blood and 
I was just off-stage in a T-shirt and trousers. 
It was fun!" 

He faced the usual problem with 
typecasting offers following his Blake's 7 

Although Gan (Jackson) was always eager 
to help crush the Federation, there just 
wasn't much that Blake (Qareth Thomas) 
or the writers could find for him to do. 

"death," being offered a number of roles 
which he describes as "Victorian Gan," but 
Jackson determined not to let himself fall 
into any one mold. He has appeared in the 
films Killer's Moon, Breakout and The 
Message, in several British TV series, the 
mini-series The Manions of America — in 
which most of his scenes (including one 
where he wrestles with star Pierce Brosnan) 
ended up on the cutting room floor — and 
many stage appearances, the latest of which 
was the London production of Phantom of 
the Opera (STARLOG #139). In between 
these events, he delights in researching the 
history of the British music hall and writing 
and presenting one-man music hall shows. 

Although David Jackson left Blake's 7 in | 
1979, he is amazed at the longevity that the = 
series has assumed. It also astonishes him 7 
that people still want to see him, and he has J 
difficulty understanding why anyone would °- 
want his autograph. "It's very nice to be 
remembered," he admits, "but it was such a 
long time ago and I've done so much since." 

David Jackson may have been able to 
work out Qan's past, but even he couldn't 
see any future for the character. 

STARLOG/M<wc/i 1989 17 


Compiled & Edited by Eddie Berganza 

The Fan Network invites contributions 
from readers: photos, cartoons, convention 
and fanzine reports and news about fan organiza- 
tions and activities. No fiction or poetry. Nothing 
can be returned unless accompanied by a self- 
addressed, stamped envelope. Address all corres- 
pondence to: Eddie Berganza, STARLOG Fan 
Network, 475 Park Avenue South, New York, 
NY 10016. 

History repeated itself at last year's May 
Starman Celebration in Ohio, when the 
fans alongside Patrick Culliton (in brown 
jacket) relived their first action together, a 
ceremonial balloon release. 

movement's first group action in Redondo 
Beach, CA (Fan Net, STARLOG #126). 
Receiving the first "Spotlight Starman Fan 
Extraordinaire Award," Culliton was 
recognized for his "dedication to the spirit 
and values of Starman." 

"I love these people," Culliton announc- 
ed. "And I love these celebrations." The 
Ohio con proved to be the largest single 
Starman event in 1988, but was far from the 
only activity of Spotlight Starman. 

Originally organized as a letter-writing 
campaign to pressure ABC into renewing 
the cancelled series, this group has become 
an extremely active fandom. It continues to 
write letters for the show's return, but is 
now channeling much of its energy into 
creative and charitable pursuits. 

Blue Lights, its monthly newsletterzine, 
won awards at last year's Media-West Con, 
and there's a growing body of Starman fic- 
tion, artwork, poetry and special publica- 
tions, such as a 174-page cookbook and a 
1989 wall calendar. 

Numerous "celebrations" — large and 
small — have found new enthusiasts while 
benefitting causes highlighted by Starman 
episodes: The Midwestern convention 
donated $2,000 to the Cousteau Society, 
and the first Starman Celebration (San 
Diego, November 1987) raised $3,000 for 


Starman celebrations aren't like other 
science-fiction conventions," remarked 
Patrick Culliton (the show's Agent Wylie) in 
Englewood, Ohio last May. "They're more 
like family reunions." He spoke from ex- 
perience, having attended all the major 
gatherings of the now-international 
Spotlight Starman campaign. Culliton was 
the guest of honor at the Midwestern Star- 
man Celebration, where representatives of 
19 states and Canada drew together to 
benefit endangered species while keeping 
alive the spirit of a show cancelled after only 
one season. 

Culliton (profiled in STARLOG #133) 
kept the entire weekend lively with his anec- 
dotes, impressions and humor. Or) Satur- 
day, he arranged a "speaker phone" call 
with Robert Hays (STARLOG #131), Star- 
man himself, who was unable to be in Ohio 
due to his own fund-raising efforts in 
Southern California on behalf of the Old 
Globe Theatre and the Society for the 
Preservation of Variety Arts. 

The Ohio con's other events included a 
wildlife awareness presentation by a State 
Park naturalist, an auction of Starman art- 
work and memorabilia, the traditional 
group photo, and the release of hundreds of 
blue and silver balloons bearing hopes for 
the show's return — recalling the 

Patrick Culliton replaced the professional auctioneers at the May con to bid away the 
double script "Starscape I & II" donated by Joshua Bryant (who played Jenny 
Hayden's brother Wayne Geffner in the episodes). 

18 STARLOG/Marc/i 1989 

Literacy Volunteers of America (LVA). 

As Spotlight Starman continues to grow, 
members of its family are getting to know 
each other better by sharing their personal 
news in the Best Buddies newsletter. A 
meditation and dream study group has 
formed and also distributes a newsletter, 
Focus. A catalog of fan-produced merchan- 
dise ("Good Things from the Starman 
Universe") is also available. 

Nearing its second printing, the cookbook 
features 23 illustrations and 218 recipes from 
"the stars, fans and friends of Starman." 
The proceeds benefit LVA as well. 

October, designated as International Star- 
man month, was an especially busy 
time— kicked off by a mass mailing of 
"Dear Network" postcards to ABC ex- 
ecutives. Produced by Teresa Edwards, 
these blue cards parodied the brown "Dear 
Viewer" dispatches sent to placate letter 
writers after Starman's cancellation. Using 
the actual wording and typeface of ABC's 
message, the "Dear Network" used gentle 
humor to inform ABC the campaign was 
still alive even if the network had given up its 
option without reviving Starman. 

The Spotlight Starman logo (created by 
Sandra L. Smith) became the official 
postmark of the 1988 SPARPEX Philatelic 
Exhibition in South Carolina, thanks to the 
efforts of Larry Vincent. And it was used to 
cancel a large number of those "Dear Net- 
work" postcards. 

October also saw many local gatherings 
across the U.S. and Canada and in the 
foreign chapters (New Zealand met in 
November), and October 22 was recognized 
as International Starman Day. 

In' November, the unique 1989 Spotlight 
Starman wall calendar was published. In ad- 
dition to its 13 full-page original drawings 
and the usual holidays, it notes the dates of 
campaigns, filming events and the birthdays 
of more than 350 people who appreciate 
Starman (cast, crew, campaigners and 
others). The calendar includes a mini- 
episode guide and a trivia challenge, and its 
sales benefit the Peregrine Fund, an en-v 
dangered species recovery program featured 
in the "Peregrine" episode. 

And how will this grassroots organization 
"keep the Spotlight on Starman" in 1989? 
By continuing its efforts to revive the show, 
hoping to see the first season rerun to garner 
new supporters. Spotlight Starman (national 
headquarters: Box 273440, Houston, TX 
77277-3440) is still seeking the thousands of 
people who appreciated the show but don't 
know there's a movement. There are no 
dues or fees, and the unofficial motto is 
"What you can, when you can." 

The monthly Blue Lights (Christine 
Menefee, editor: 600 Water St. SW #8-14, 
Washington, DC 20024) will remain a cen- 
tral news source. A new "Buddy" system 
was recently established so people can 
receive issues at reduced cost or for free. 

Blue Lights also publishes numerous special 
editions on a variety of Starman subjects, 
notably its "creative works" fanzine series 
Songs of the Sphere. 

Other sW-Starman zines Endangered 
Species (Portals Press) and Silver Spheres (J. 
Stevenson) are available, and Out of an 
Endless Night is in the making at Stranger 

The next big event being planned is the 
Sedona Starman Celebration on March 
17-20. Participants will visit the Arizona 
shooting locations for the "Starscape" I and 
II episodes and journey to Meteor Crater, 
Starman's departure point in the movie. 

"Who knows what other new things 
Spotlight Starman will dream up in 1989?" 
asks Chris Menefee, one of the organiza- 
tion's founders. She was also instrumental 
in launching the successful Star Trek fan 
movement to get the first space shuttle 
named Enterprise. In looking back on that 
campaign, Menefee remembers, "I thought 
if Star Trek ever came back, it could never 
match the level of imagination and quality 
of what the fans were writing in fanzines. 

"But the movies have been good because 
the fans challenged the producers, and the 
same thing is happening now with Starman. 
We've gone way beyond the series. Since it 
has been off the air, we've become the 
creators of Starman and there's no limit in 

— Vicki Hessel Werkley 


I ' 

'We are in control. . ." j P4 


THE SIXTH FINGER™ model kit 

It's here! An all-new model kit from the classic TV 

series. Made of easy-to-assemble soft vinyl, this 1/8 

scale poseable figure stands over 9 inches tall. Includes 

base, nameplate, vial and complete instructions. First in 

a series of great monster kits from THE OUTER LIMITS™ 

To order, send check or money order payable to: Golden Era Models, 
Inc., Dept. S, P.O. Box 347066, San Francisco, CA 94134-7066. 

kit(s) at 

$25.95 each $_ 

Postage & handling: 

$3.50 for 1st kit 

$2.50 each add'l kit $_ 

Foreign: Add $4 per kit . S_ 

California residents 

add 6 1 /2% Sales Tax . . . .$_ 


city _ 



Allow 6-8 weeks for delivery. 
© 1988 Golden Era Models, Inc. 



Michael Radochia of Arlington, MA asks: 
"In the movie Beetlejuice, why is the name 
spelled 'Betelgeuse' instead?" 

The name of the demon in Beetlejuice is 
Betelgeuse. The studio decided to go with 
the phonetic and more "icky and gross" 
spelling of the name. That way, everyone 
could pronounce it. 

Have a question that you think STARLOG 
could answer? Ask it on a postcard only and we 
do our best. Mail to STARLOG Queries, 475 
Park Avenue South, NY, NY 10016. Note: there 
will be no personal replies. 

Adrian Quinn of Newark, NJ asks: "Is it 
possible to get the episodes to the series 'V 
on videocassette? Also, I heard at a conven- 
tion that they're trying to bring back the 
series. Is this true?" 

The series is not available on videocassette at 
the moment. As for the show's return: well, 
anything's possible, but don't hold your 




February 1-4 

Brigham Young University 

Provo, UT 

SF Symposium 
3163 JKHB 
Provo, UT 84602 
Guest: David Brin 


February 3-5 
Brown County Inn 
Nashville, IN 

P.O. Box 443 
Bloomington, IN 47402-0443 


February 3-5 
Stratford House 
Fenlon. MO 


1156 Remlev Court 
Universitv City, MS 63130 
(314) 725-6448 


February 10-12 

Holiday Inn Medical Center 

Birmingham, AL 


P.O. Box 550302 

Birmingham, AL 35255-0302 

Guest: Andrew Offutt 


February 10-12 

Western Washington University 

Bellingham, WA 

Viking Con X Committee 
Bellingham, WA 98225 


February 11 

Ranch Mart Auditorium 

Overland Park, KS 


c/o Starbase Kansas City 

P.O. Box 8097 

Prairie Village, KS 66208 

(816) 923^4948 

Benefits Kansas Special Olympics 


February 11-12 

Scran ton Masonic Temple 

Scranton, PA 


P.O. Box 90 

Millwood, NY 10546 


Guests: Leonard Nimoy (Sat. 

only), Mark Lenard (Sun. only) 

February 17-20 
Hyatt Regency Hotel 
Louisville, KY 
Sercon 3 
P.O. Box 1332 
Dayton, OH 45401 
Guests: James Gunn 
& Richard Powers 


February 17-19 
Holiday Inn Southeast 
Madison, WI 

Philip Kavenlv 

c/o SF3 

Box 1624 

Madison, Wl 53701-1624 


February 18 
Holiday Inn Central 
Omaha, NE 

Omacon 8.5 
c/o Star Realm 
7305 S. 85th Street 
Omaha, NE 68128 


February 24-26 
Ramada Inn 
Jefferson Cily, MO 
P.O. Box 7242 
Columbia, MO 65215 


February 24-26 
Lexington Hyatt 
& Radisson Hotels 
Lexington, KY 

P.O. Box 979 
University Station 
Lexington, KY 40506-0025 


February 26-March 5 


Miami, FL 

Cruise Designers 

2441 North Tustin Avenue 

Suite 1 

Santa Ana, CA 92705 



March 3-5 

Oakland Airport Hyatt Hotel 

Oakland, CA 

Off Centaur Publications 

P.O. Box 424 

El Cerrito, CA 94530 

(415) 528-3172 

Guest: Joe Haldeman 


March 3-5 

LA Airport Marriott 

Los Angeles, CA 

Dark Shadows Festival 

P.O. Box 92 

Maplewood, N'J 07040 

Guests: Jonathan Frid & members 

of Dark Shadows cast & crew 


March 4-5 

Holiday Inn Ashley Plaza 

Tampa, FL 


P.O. Box 786 

Hollywood, FL 33022 

(305) 925-2539 

Guests: Walter Koenig & 

STARLOG's David McDonnell 




March 10-12 

Photon Entertainment Center 

Chicago, IL 

First Intergalactic Expo 

P.O. Box 6198 

Cherry Creek Station 

Denver, CO 80206 

(303) 293-2228 

Guests: Colin Baker, Kevin Pollak 

& Terry Nation 


March 10-12 

Westchester Marriott Hotel 

Tarry town, NY 

Lunacon '89 

P.O. Box 338 

New York, NY 10150-0338 

Guests: Roger Zelazny, David Kyle 

& David Hartwell 


March 10-12 
Forum 303 Mall 
Arlington, TX 
Collector's Corner 
Forum 303 Mall 
Arlington, TX 76010 
Metro 640-8576 


March 17-19 
Hyatt Regency 
Greenville, SC 

Magnus Opus Con 

4315 Pio Nono Avenue 

Macon, GA 31206 

Guests: Michael Dorn, Sylvester 

McCoy, Larry Niven & Jerry 



March 17-19 

The Sheraton Racine 

Racine, WI 


P.O. Box 129 

Wilmette, IL 60091 


March 17-19 
P.O. Box 1423 
Biloxi, MS 39533 


March 17-19 
Dayton Airport Inn 
Dayton. OH 

P.O. Box 636 
Dayton, OH 45405 




March 17-21 
Hotel TBA 
Sedona, AZ 

Sharon Ann Saunders 
5150 W. Eugie Avenue 
Apt. #2061 
Glendale, AZ 85304 


March 24-26 


P.O. Box 8297 

Lake Street Station 

Minneapolis, MN 55408 

Guests: Harry Harrison 

& Fritz Leiber 


March 24-26 
Omni Hotel 
Baltimore, MB 

Balticon 23 
P.O. Box 686 
Baltimore, MD 21203 
Guest: C.J. Cherryh 


March 24-27 

Hotel de France, St. Helier 

Jersey, Channel Islands 


63 Drake Road 

Chessington, Surrey, U.K. 

Guest: Anne McCaffrey 


March 30-April 2 

MSC Cepheid Variable 

P.O. Box J-l 

College Station, TX 77802 


March 31-April 2 
Regency Hotel 
Denver, CO 


P.O. Box 24937 

Denver, CO 80224 

Guest: Harve Bennett, STARLOG 

Editor David McDonnell 


March 31-April 2 

PhoenixCon 4.0 
1579 Monroe Drive 
Box F-2I8 
Atlanta, GA 30324 

l-CON 8 

March 31-April 2 


P.O. Box 550 

Stony Brook, NY 11790 

Guests: Frederik Pohl, Joe 

Haldeman, Nancy Kress & 

Sylvester McCoy 


March 31-April 2 

The Brekenridge Frontenac Hotel 

St. Louis. MO 

St. Louis Fantasy Fan Fair 

c/o Joyce Valli 

1010 S. Waiola Avenue 

La Grange, IL 60525 


Guests: John Levene, Walter 

Koenig & Janet Fielding 


March 31-April 2 

Virginia Tech Campus 

Blacksburg, VA 


P.O. Box 256 

Blacksburg, VA 24063-0256 

Guest: John M. Ford 



April 7-9 
Quality Inn West 
Knoxvilie, TN 

1028 Valley Avenue 
Knoxvilie, TN 37920 
(615) 579-3202 


April 9 

Penn Harris Inn 

Harrisburg, PA 

P.O. Box 90 
Millwood, NY 10546 
(914) 739-3191 


April 14-16 

Phoenix Hyatt Regency 

Phoenix, AZ 

LepreCon 15 
P.O. Box 26665 
Tempe, AZ 85282 
(602) 839-2543 


April 21-23 
Henry VIII Hotel 
St. Louis. MO 

Galactic Trekfest 
640 White Street. 
Belleville, IL 62221 
(618) 233-2404 or 236-2494 
Guests: Richard Hatch, Bill 
Mumy & Merritt Butrick 

20 STARLOG/Morc/i 1989 

COMB ?/ 

w i u^mwimavm^m T ^uiiimmwjmbum. 


yo, BOB .' 





April 21-23 

Sunland Park Holidav Inn 

El Paso. TX 

Amigocon 4 

P.O. Box 3177 

El Paso, TX 79923 

(915) 542-0443 

Guests: Kelly Freas 

& Melinda M. Snodgrass 


April 23 
Sheraton Inn 
Syracuse, NY 
P.O. Box 90 
Millwood, NY 10546 
(914) 739-3191 
Guests: John DeLancie 
& William Campbell 


April 28-30 
Holiday Inn 
Denver, CO 

IFGS Once Upon A Con 
P.O. Box 16436 
Colorado Springs, CO 80935 
Guest: Larry Niven 


April 28-30 

Radisson Hotel Columbus 

Columbus, OH 

Marcon XXIV 

P.O. Box 211101 

Columbus, OH 43220 




May 5-7 

Royale Vista Inn 

Hot Springs, AR 

Roc*Kon 13 

P.O. Box 45122 

Little Rock, AR 72214 

Guest: George R.R. Martin 


May 5-7 

The Michigan Inn 

Soulhfield. MI 

Convert Contraption 
1325 Kev West 
Troy, MI 48084 


May 5-7 

Hyatl Seattle Hotel 

Tacoma, WA 


TLPO Box 8207 

Kirkland, WA 98034-8207 


May 5-7 

Milwaukee Marriott Hotel 

Milwaukee. Wi 


P.O. Box 7 

Milwaukee, Wl 53201-0007 

Guest: Joan Vinge 


May 6 

Adelphi University Campus 
Garden City, NY 
May-Day Con 
c/o Theresa DiMaria 
1701 Jasmine Avenue 
New Hyde Park, NY 11040 


Mav 12-14 

The Stanley Hotel 

Estes Park, CO 


P.O. Box 277652 

Riverdale, IL 60627-7652 

(312) 841-6300 or (800) 798-2489 

Guests: FX Artist Bryan Moore, 

Doug Winter & Charles Grant 


May 12-15 

Miami to Nassau 


P.O. Box 786 

Hollywood. FL 33022 

Guests: 16 Trek stars & creators 

Contact (800) 444-SHIP 

V-CON 17 

May 26-28 

University of British Columbia 

Vancouver. B.C. Canada 

V-Con 17 
P.O. Box 48478 
Benlall Centre, Vancouver 
B.C. Canada, V7X 1A2 


May 18-21 

San Marino, Italy 

Slur Trek Italian Club 
P.O. Box 63 
10098 Rivoli, Italy 


May 19-21 

Howard Johnsons 

Orlando, FL 


P.O. Box 616469 

Orlando, FL 32861-6469 

Guest: Mike Resnick 


May 19-21 

Holiday Inn Executive Center 

Virginia Beach, VA 

Beach Trek '89 

c/o VISTA 

P.O. Box 62854 

Virginia Beach, VA 23462 

Guests: Walter Koenig, 

A.C. Crispin, Bjo Trimble 

& Colleen Doran 


May 26-28 

Hvatc Regencv DFW 

Dallas Ft. Worth Airport, TX 

Galaxy Fair 

Dept. F2 

P.O. Box 15047 

Arlington, TX 76015-6471 


Guests: George R.R. Martin, 

Kelly Freas & Robert Asprin 


May 26-29 

Desmond-Americana Inn 

Albany, NY 

Costume Con Seven 

P.O. Box 2323 

Empire State Plaza Station 

Albany, NY 12220 



June 9-11 

The Constellation Hotel 

Toronto, Ontario, Canada 

Ad Astra 9 

P.O. Box 7276 

Station A 

Toronto, Ontario M5W 1X9 

Guests: John Varley & 

STARLOG's Kerry O'Quinn 

CON 27 

June 9-11 
Memphis Marriott 
Memphis, TN 

Deep South Con 27 
1229 Pallwood 
Memphis, TN 38122 
Guests: Orson Scott Card 
& C.J. Cherryh 


June 9-11 
Days Inn Hotel 
Mobile, AL 

Mobi-Con, Inc. 
P.O. Box 161257 
Mobile, AL 33616 


June 17-18 

Altamonte Springs Hilton 

Orlando, FL 


P.O. Box 786 

Hollywood. FL 33022 

(305) 925-2539 

Guest: STARLOG Editor 

David McDonnell 


June 23-25 

Pallas Suite Hotel 

New Orleans. LA 


Acme SF Corp. 

P.O. Box 791089 

New Orleans, LA 70179 

(504) 436-2633 or 

(504) 769-3766 

Guests: George Alec Effinger, 

George R.R. Martin & Ed Bryant 


June 30-July 1-2 
Adams Mark Hotel 
Indianapolis. I.N 
P.O. Box 19776 
Indianapolis, IN 46219 


June 30-July 1-2 

St. Paul Radisson 

St. Paul, MN 

Time, Space & Fantasy Inc. 

P.O. Box 23619 

Richfield. MN 55423 

Guest: John Levene 


June 30-July 4 
Anaheim Marriott 
Anaheim, CA 

SCIFI/Westercon 42 
P.O. Box 8442 
Van Nuys, CA 91409 
Guest: John Varley 


OKON 89 

July 14-16 
Camelot Hotel 
Tulsa, OK 

OKon '89 

P.O. Box 4229 

Tulsa, OK 74159 

Guests: Robert Bloch, Steve Gould 

& David Mattingly 


July 21-23 

Con-Version VI 
P.O. Box 1088 
Station M 
Calgary, Alberta, 
Canada T2P 2K9 
Guest: Harry Harrison 


July 21-23 

Henry \ III Inn 

St. Louis, MO 

Archon 13 

P.O. Box 50125 

Clayton, MO 63015 

Guests: David Brin. Kelly Freas 

& Julius Schwartz 


July 22-23 
Holiday Inn 
Itasca, IL 
Darlene Kepner 
234 Washo Drive 
Lake Zurich, IL 60047 



August 4-6 

Oslo, Norway 

Heidi Lyshol 

Maridafsvn. 235 A 


Oslo, Norway 

Guest: Samuel R. Deiany 


August 4-6 
Holiday Inn Central 
Omaha, NE 
P.O. Box 37851 
Omaha, NE 68137 


August 11-13 

Toronto Trek Celebration 3 

P.O. Box 391 


Toronto, Ontario, Canada 

Guest: Vonda Mclntyre 



September 22-24 
University Ramada Inn 
Columbus, OH 
Time Lord '89 
667 E. Church Street 
Urbana, OH 43078 

STARLOG's Birthday Fantasy, a 
15-minute 16mm color film, is avail- 
able for screening. Organizers, write 
for details: STARLOG's Birthday 
Funtusv, 475 Park Avenue South, 
NYC 10016, or (England) contact 
Pamela Barnes, c/o Fanderson, 
P.O. Box 308, London W4 1DL. 

Questions about cons listed? 
Please send a self-addressed, 
stamped envelope to the address list- 
ed for the con. Conventioneers: 
Send all pertinent info no later than 
5 months prior to event to STAR- 
LOG Con Calendar, 475 Park Ave. 
South, NY, NY 10016. STARLOG 
makes no guarantees, due to space 
limitations, that your con Witt be 
listed here. This is a free service: to 
ensure a listing in STARLOG — not 
here but elsewhere — contact Connie 
Bartlett (212-689-2830) for classifed 
ad rates & advertise there. 

STARLOG/Marc/! 1989 21 









Your cost $9.95 plus shipping and handling- 
Total cost $11.50 

This is the official Doctor Who 25th Anniversary 
book, marking 25 years of BBC television's longest 
running and most successful science fiction series. 
From its very early beginnings as a 25-minute black- 
and-white Saturday evening series, Doctor Who has 
become a national institution and an international 
success story. With over 110 million viewers in 60 
countries, the program's popularity is almost 
unparalleled in the history of entertainment. 

More than 200 pages! Dozens of full color pictures! 
Your cost $24.95 + $2.55 shipping and handling- 
Total cost $27.50. 


BLAKE'S 7: Their First Adventure 
by Trevor Hoyle 

Top British science-fiction author Trevor Hoyle has 
written a gripping novel of deep space action, 
adventure and intrigue. Exiled from Dome City—where j 
a vicious regime wields dictatorial power-Roj Blake 
swears vengeance on the corrupt leaders who have 
destroyed his future. Hijacking the Liberator, the most 
advanced spacecraft ever created, Blake travels to the 
sinister planet Cygnus Alpha. There he rescues other 
victims of the regime from the evil Vargas.. .And forms J 
a fighting force to combat galactic injustice: 
Blake's7! Price $3.95 


by Trevor Hoyle 

Alone against the might of the Federation, an army of 
Androids-and PROJECT AVALON! From the arid 
wastes of Amersat, Planet of the Dead, to the oceans of 
acid on the planet Aristos. Roj Blake and his crew on 
board the Liberator wage a deadly war against the 
forces of galactic oppression Price $3.95 

• flVfllON 



by Trevor Hoyle 


The story: after the Atomic wars, there emerged from 
the ensuing chaos a Dictatorship so powerful that it 
engulfed the majority of Earth -populated worlds. 
Known as the Federation, it grew in power until the 
hard-won freedom of the people it ruled disappeared. 
Blake himself began the sole resistance against the 
might of the Federation. Now he is lost— perhaps 
forever— but in his pioneering footsteps come his 
gallant followers known as Blake's Seven. In their 
new ship, the Scorpio, they carry on their heroic and 
dangerous fight Price $3.50 


by Tony Attwood 

Did Blake's death really mean the end of the fight 
against the evil forces of the Federation? Was the 
vulnerable thief Vila killed-or just wounded? What 
happened to the computer Orac? Would the scheming j 
Servalan regain her old power-base? And what of 
Avon himself, the unbeatable, unpredictable paranoid 
who had ended it all? AFTERLIFE is Tony Attwood's 

brilliant continuation of the Blake's 7 story 

Price $3.95 


This unique commerative volume celebrates one of the! 
most important developments in television drama for 
over a decade-BLAKE'S 7. Avidly watched by an 
average of 10 million people in Britian, and watched in! 
25 countries, BLAKE'S 7 took the BBC by storm: fan 
clubs were springing up everywhere, and a BLAKE'S 7 
magazine had established a circulation of 40,000 
copies. And now the definitive handbook. An 
introduction by Terry Nation, series creator. Full 

story-lines, and cast list of every episode 

Price $4.50 



Thtoutfwtie Kfid bA«9KitIftmo 


• CUIBf 

Tte Mpnc MAmm 
TMMTTVM1) ■■■ 


I enclose $ 




Dr. Who: 25 Glorious Years 

$24.95 +2.55 


Dr. Who 1989 Calendar 



Programme Guide 



Blake's 7 



Scorpio Attack 



Project Avalon 






CAllow 4-6 weeks delivers 

) Mail to: Sfc 

irloe Pre. 




Starlog Press, 475 Park Avenue South, New York, NY 10016 



Tom Hanks stars as Josh Baskin, a youth 
whose innocent wish to be a big guy (in 
order to woo class beauty Cynthia Benson) 
is granted at a New Jersey amusement park. 
He wakes up the next morning suddenly 
some 23 years older. 

Confused and frightened at being thrust 
unprepared into the adult world, he runs 
away to New York City and takes up 
residence in a sleazy Times Square hotel. At 
first, he finds no advantage in being an 
adult, but luckily lands a job with a toy 
company and with his sudden salaried 
riches, finds a loft which is soon filled with 
big toys for the big kid Josh has become. 
But life in the adult world involves some 
emotional responsibilities which he hasn't 
even begun to experience. A fellow exec 
(Elizabeth Perkins) finds Josh extremely 
refreshing and attractive, but is frustrated by 
his inability to relate to her romantically. 

Written and co-produced by Anne 
Spielberg and Gary Ross, directed by Penny 
Marshall (STARLOG #134), Big is 
thoughtfully engrossing and cleverly 
manages to avoid almost every cliche that 
this simple fantasy would ordinarily 
encounter. The scene with Hanks and 
Robert Loggia (as the toy company head) 
dancing on the giant piano keys at New 
York's FAO Schwarz toy store is a classic. 

Big is a CBS/Fox videocassette ($89.98). 
It's closed captioned for the hearing 
impaired in VHS HiFi stereo and Beta HiFi 
stereo formats. It's available March 23. 

If they're Big, this must be Valentine's Day. Elizabeth Perkins embraces Tom Hanks. 

In A Fish Called Wanda, also from 
CBS/Fox, a strangely assorted quartet of 
thieves has just pulled off "The Big Jewel 
Job" in London's Hatton Gardens. George, 
played by Tom (Dr. Who) Georgeson is the 
only member of the gang who knows where 
the gems are hidden. Unfortunately, George 
is now languishing as a prized guest in one 
of Her Majesty's better known prisons. His 
only hope of freedom is the silver-tongued 
eloquence of his defense counsel, Archie 
Leach, played by Monty Python's John 
Cleese (STARLOG #137). 

Of the other gang members, the hyperac- 
tive Wanda, Jamie Lee Curtis (FANGORIA 
#15) seems to be the most ambitious, seduc- 
ing all three of her leading men for the 
purest of motives — greed. Keeping perhaps 
too close an eye on her is Otto West (Kevin 
Kline), who hints that he's ex-CIA and, in- 
deed, bristles with more lethal gadgetry than 
a Swiss Army pen knife. It's hard to say 
what Otto likes in life but one thing is cer- 
tain — he doesn't like the English. Last but 
not least is Ken Pile (Brazil's Michael Palin), 
a devoted animal lover and would-be 
assassin who can't help killing an old lady's 
dogs one at a time. Not only that, he keeps 
fish in a bowl and is particularly enamored 
of one called Wanda. 

Directed by Charles Crichton, who also 
directed The Lavender Hill Mob and several 
Space: 1999 episodes, and written by John 
Cleese, A Fish Called Wanda is available 
close-captioned and in VHS and Beta HiFi 
stereo formats. Look for it in your local 
store after February 23. 

Early Cleese & Palin sketches can be 
found in the latest three volumes of Monty 
Python from Paramount Home Video, 
$24.95 each. Volume 10, entitled Blood, 
Devastation, Death, War, Horror & Other 
Humorous Events, features "The Army 

If one's A Fish Called Wanda, this must be 
a Valentine's Day video. Jamie Lee Curtis 
embraces John Cleese. 

Recruitment Office," "Pantomime 
Horses," "The Polite Hijacker," "Flying 
Lessons," "The Post Ewan McTeagh" and 
"Psychiatric Diaries." In Volume 11, Dirty 
Vicars, Poofy Judges and Oscar Wilde, 
too.', you can find "Taming Oscar Wilde," 
"The Blood Bank," "The Git Family," 
"Gay Magistrates," and of course, "The 
Dirty Vicar." Volume 12, Kamikaze 
Highlanders includes "The Legend of Den- 
nis Moore (The Lupin Bandit)," "The Pre- 
judice Game," "No Time To Lose," "Spot 
the Looney," and, naturally, "Kamikaze 

Warner Home Video has digitally 
remastered all four Superman movies in 
Surround Stereo, added close-captioning, 
and tagged the package at a very attractive 
$19.98 per cassette (VHS and Beta). With 
the reduction of last year's Superman IV: 
The Quest for Peace to $19.98, this now 
means that the entire Man of Steel quartet is 
available to video collectors for under $80. 
Also included in the special sale ($19.98 
each) are two Tom Selleck adventures: High 
Road to China and Lassiter. 

The third video format — 8mm video — is 
ideal for getting quickie videos of kids and 
vacations but does not see much use for 
home entertainment. Nevertheless, Volume 
II of the Cinema 8 catalog with more than 
200 pre-recorded 8mm video titles is now be- 
ing distributed to the public by the 8mm 
Video Council. The Council's objective is to 
keep consumers and retailers up-to-date on 
the latest advancements in the 8mm in- 
dustry. A non-profit trade association, the 
Council distributes information and 
brochures on all its member companies and 
literature on the 8mm industry, in addition 
to the software catalogs. Those interested 
can receive their catalog by calling the toll- 
free 8mm Video Council Hotline at 
1-800-VID-8MIL (nationwide) or 
1-212-986-3978. The catalog is updated 

— David Hutchison 

ST AKLOG/ March 1989 23 

Memories of 

Decades after his return to "This island 
Earth," the actor recalls the classic film. 


Sometimes, an actor can toil in 
Hollywood for years without 
achieving recognition, and some- 
times, lasting fame can come from a single 
production. Rex Reason appeared in a score 
of '50s films, starred in two popular TV 
series and guested on many more, but film 
fans remember him first and foremost as the 
staunch scientist-hero of 1955's This Island 
Earth. Reason does not resent the instant 
association, although he is quick to name 
other films and TV appearances of which he 
is equally proud. The husky 6'4" Reason 
now makes his living through real estate, but 
is happy to reminisce about his stint as both 
Hollywood heavy and hero. Tanned, relax- 
ed and affable, he settles into a favorite 
chair in his Walnut, California home and 

TOM WEA VER, veteran STARLOG cor- 
respondent, profiled Phyllis Coates in issue 
If 138-9. MICHAEL BRUNAS is a New 
Jersey-based genre expert who has con- 
tributed to Famous Monsters of Filmland. 

basks in STARLOG-slanted memories of 
his film career. 

Reason was born on November 30, 1928, 
in Berlin, Germany, while his family was in 
Europe on a business trip. He grew up in 
Los Angeles, but early on, his show business 
aspirations were nil. "I was never truly in- 
terested in the theater," the deep-voiced ac- 
tor recalls. "It was my mother who had the 
interest and who was hoping that her two 
boys, my brother Rhodes [who also became 
an actor, seen in King Kong vs. Godzilla] 
and myself, would become interested." 
Maternal influences notwithstanding, Rex 
Reason's acting career grew partly out of an 
inferiority complex that he developed during 
his high school years. A 6'3" 15-year-old 
with an adult's voice, he frequently found 
himself a center of attention and became ex- 
tremely self-conscious as a result. His 
mother took him to a dramatic coach who, 
in working with him, recognized his stage 
and screen potential. 

Apparently, acting was in the cards for 

the teenage Reason. He transferred from 
Hollywood High to Glendale's Hoover 
High School, and on his first day there, the 
school's dramatic coach spotted him in the 
hall and told him, "You are the one I want 
for the lead in my next play." 

"The play happened to be Seventh 
Heaven, which my mother was in love 
with," Reason explains. "She knew the role 
I was going to play, which was Chico; just 
the kind of romantic, dramatic part she was 
probably praying I would get ! She was very 
happy — tearfully happy — and she took 
hold of me and said, 'Rex, you're going to 
do this play!' There were only two weeks to 
prepare, and she drummed those lines into 
my head, worked me until I was in bed, sick, 
and even then she kept at it!" 

At 17, Reason enlisted in the Army, and 
used his time in uniform trying to figure out 
what he wanted to do with his life. His 
father's wish was that he become a civil 
engineer, while his mother kept after him 
about acting. After his discharge, he opted 

24 STARLOG/Ma/rA 1989 

for the latter, enrolling at the Pasadena 
Playhouse. Tiring of acting studies after a 
year-and-a-half, he moved on and became 
involved in little theater. His big break came 
when an agent spotted him in a stage pro- 
duction of Monserrai and asked him if he 
would like to try out for a movie. 

Plight Over Himalayas 

Fantasy film fans remember Rex Reason 
exclusively for This Island Earth and The 
Creature Walks Among Us, tending to 
forget that his very first film, 1952's Storm 
Over Tibet, also boasts mild supernatural 
overtones. Top-billed Reason played an Air 
Transport Command pilot who, in prepar- 
ing to leave the service and return home 
from the Himalayas, pilfers as a souvenir 
the skull-mask of the Tibetan death god. 
When his co-pilot, played by Myron Healey, 
questions his right to steal the sacred sym- 
bol, the two tussle, leaving Reason slightly 
hurt while Healey takes over the flight only 
to be killed in a crash. Reason becomes con- 
vinced that Healey suffered the fate the 
death god had ordained for him. "From 
that point on, I did a search within my soul: 
I went back home, I saw Healey's wife, so 
on and so forth. In need of an answer, she 
and I took a trek back to the Himalayas, 
joined a UNESCO expedition and under- 
took the search. I climbed the mountains, 
got up to the top and challenged the Sinja 
god, and in the end, I found my answer." 

Directed by Andrew Marton, Storm Over 
Tibet was largely built around stock footage 
from a Himalaya-set feature that Marton 
had directed 20 years before (some of this 
stock had previously turned up in Colum- 
bia's Lost Horizon). Reason's mountain- 
climbing scenes were actually shot indoors, 
on a huge stage in a rented studio on Los 

"You could tell immediately that this was just a stuntman in a bug uniform, and that 
took away from the picture," notes Reason of the film's creature climax. 

Palmas in LA. "The snow in those scenes 
was corn flakes, painted. And 1 remember 
that when the wind machines started and 
those corn flakes were flying and we had to 
talk and react in the face of all that, that 
these corn flakes got in our nostrils and got 
stuckV Reason laughs. "It was very dif- 
ficult to cope with that." 

Reason also has fond memories of the 
film's producer, the late Ivan (The Magnetic 
Monster) Tors. "Ivan was quite interested in 
animals at the time. In fact, he was studying 
porpoises, and as you know, he later did a 
TV series called Flipper. Ivan and Laslo 
Benedek were the producers of Storm Over 
Tibet and Marton was the director. They all 
were extremely interesting and helpful to 

While at Columbia, Reason also played 
supporting roles in movies such as Salome 
with Rita Hayworth, Mission Over Korea 
and China Venture (all 1953). Of his minor 
role in Mission Over Korea, The New York 
Times wrote, "In exactly two scenes, total- 
ing approximately three minutes, a new- 
comer named Rex Reason wins top acting 
honors" over a cast that included veteran 
players John Hodiak, John Derek, Audrey 
Totter and Maureen O'Sullivan 
(STARLOG #126). 

When Reason's tenure at Columbia 
reached its end, his agent talked him up at 
Universal Studios. "Universal said they 
had a part which might get me a seven- 
year contract. It was the Indian brother to 
Rock Hudson in Taza, Son of Cochise 
[1954]. They tested me, and they seemed 
to be very excited about the results. A few 

Years later, Reason makes contact with a 
piece from his heroic past, a small bead 
that would form a link between Earth and 
Metaluna via the Interociter. 

days later, they signed me to a seven-year 
contract and set me up for three pictures 
immediately: Taza, Son of Cochise and 
Yankee Pasha [1954] were the first two. 
And, although I didn't know it at the 
time, for the third, they had me pencilled 
in as a possibility for This Island Earth." 

In the latter half of the 1950s, Reason 
would become typecast as a movie and TV 
hero, but early on, Universal heaped 
villainous roles on the stern, stentorian ac- 
tor. In Taza, Son of Cochise, he was 
Naiche, the hot-blooded Chiricahua 
savage who refuses to honor the peace his 
tribe has made with white men ("I want to 
live like an Apache warrior — by the lance, 
the arrow and the knife!"); and in the 
serio-comic costume adventure Yankee 
Pasha, he was the bearded Islamic 
nobleman Omar Id-Din, who buys Rhonda 
Fleming for 'his harem and meets the 
gruesome impaling death which he had in- 
tended for hero Jeff Chandler. 

Reason has fond memories of the early 
days when he dished out dastardly deeds 
as a Universal contractee. "It was 
wonderful there," he grins. "There were 
acting workshops where we would 
memorize a scene, do some improvisa- 
tion; there was dancing; there was fenc- 
ing — the whole grooming process. All the 
Miss Americas and Miss Universes would 
come out and we would host all those 
lovely ladies, so on and so forth. I did love 
it because it kept us busy.. Being a part of 
it and having roles in pictures and seeing 
your name up there on the screen is all 
very exciting. I felt blessed to be a part of 
that whole life." 

However, the one negative aspect of a 
contract player's life is that he is constantly 
subject to the whims of the front office. 
"Milburn Stone walked in on me one morn- 

STARLOG/Ator/i 1989 25 

Reason was reunited with Morrow for The Creature Walks Among Us, but heartfully 
admits that "it was a comedown after This Island Earth." 

ing with a trade paper spread open in front 
of him, and he said, 'Hi, Bart.' I said, 
'What do you mean?' and he read to me, 
'Rex Reason's name now changed to Bart 
Roberts.' Well, that made me a little 
disturbed. I went and talked to Ed Muhl, 
who was head of production at Universal, 
and I said, 'You know, if my name were 
Bart Roberts, I bet you would change it to 
Rex Reason!' I told him Rex Reason was a 
good name and he didn't argue. He said, 
'Fine, you can have it back.' However, as it 
ended up, those first two pictures [Taza, 
Son of Cochise and Yankee Pasha] went out 
with the Bart Roberts name on 'em." 

It was by being in the right place at the 
right time that Reason won his best, and 
best-remembered, role as the hero of This 
Island Earth. Actress Piper Laurie was mak- 
ing a test for a Western and Reason was ask- 
ed to play opposite her in a short scene set 
on a stagecoach. The scene belonged to the 
actress, Reason was relaxed and casual in his 
supporting part and today he cannot even 
recall what the picture was or if Piper Laurie 
got the role. "But Ed Muhl watched that 
scene and seemed to like it very much, and 
as a result of that, he thought of me for 
Meacham in This Island Earth. I read the 
script and I found it very interesting, I 
started testing and the rest you know." 

Odyssey to Metaluna 

Technicolor cameras rolled on Universal- 
International's most lavish science-fiction 
production in January 1954. Reason and 
another screen newcomer, Jeff Morrow, 
starred as terran hero and extraterrestrial 
tragic-hero, sultry Howard Hughes 

discovery Faith Domergue assumed the 
female lead, and supporting parts were filled 
by such '50s reliables as Russell Johnson, 
Lance Fuller and Robert Nichols. But it was 
the Universal special FX technicians who 
would emerge as the film's true stars as This 
Island Earth began to grow in importance in 
the eyes of studio executives. "I know they 
put a tremendous amount of money into the 
special FX, and day after day, the more it 
progressed toward getting ready for the 
screen, there was that much more talk about 
it," Reason says. "It seemed to be a very 
important project at the time, important 
enough for them to put the money into it 
and make it as first-class as possible." 

What Reason calls his "good vibes" over 
the picture and its possibilities were further 
bolstered as his relationships with cast and 
crew began to develop. "The producer, 
William Alland, had a great deal of im- 
agination. He was always fascinated with 
whatever it was he was doing, and he was 
always giving us his ideas regarding what we 
were going to do. He was quite an im- 
aginative gentleman and always quite 
energetic. I would call Joseph Newman a 
comfortable director. A few of the directors 
I worked with did a lot of screaming and 
yelling, but Joe was very comfortable and 
easy to work with." 

Regarding his co-stars, Reason notes, 
"Jeff Morrow [STARLOG #118] was, to 
me, the professional. He was very 
stimulating to watch and to work with. He 
was in his part, and he had a lot of respect 
for his fellow actors. As a result of this, I 
was better; he was 'high,' and this called 
forth every bit of my attention and involve- 

On and off screen, Jeff Morrow (far left) 
inspired Reason to do his best. "Jeff was 
trie professional," offers Reason. 

ment as an actor. His few remarks to me 
during the shooting of This Island Earth 
helped me. He said, 'You know, you have 
looks, Rex, but if you think that you do 
have looks, it's going to take away from 
your acting. You're the kind of person 
who'll have to work a little harder.' I did the 
best work I knew how on This Island Earth, 
and I held up my end of the picture to his 
satisfaction. He is an actor's actor." 

And leading lady Faith Domergue "was 
quite a sport," Reason adds. "There was a 
scene where I had to dunk her down into 
some dirty water and a chase where I had to 
yank her along, and she didn't ever com- 
plain. She never once played 'the Holly- 
wood Queen' with me. She did a good job, 
she was a lovely lady and she was very nice. 
I'm sorry I didn't get to know her better." 

Production went smoothly over what 
Reason remembers as a six-week shooting 
schedule, with enthusiasm for the project 

26 STARLOG/Mo/r/! 1989 

continuing to grow and Reason enjoying the 
change of pace from his usual villainous 
roles. Reports had an uncredited Jack Ar- 
nold partially responsible for the film's 
direction, but Reason dismisses the rumors. 
"Jack Arnold was there, and he was very 
excited about being part of the picture," the 
actor allows, but to the best of his recollec- 
tion, Arnold was in charge of only a few 
stray pick-up or insert shots. 

Reason continues to look back on This 
Island Earth with pride, although he (like 
Jeff Morrow) regards Universal's decision 
to shoehorn monster scenes into the film's 
climax as an unhappy miscalculation. "I 
would say that those scenes definitely de- 
tracted from This Island Earth," he com- 
ments. "They didn't have the realism that 
the rest of the picture did. You could tell im- 
mediately that this was just a stuntman in a 
bug uniform, and that took away from the 

Sparing no expense on FX, Universal, 

according to Reason, tried to make This 

Island Earth as first-class as possible. 


---■ •■ ■ * fz 

■ im wL ai H H mm ■ 






i ? : ^ ~r:j~; r. 

mmum. mm an&Kseiit.Dcv dmcm! 

The actor hasn't packed it in just yet; Reason hopes to become quite vocal about an 
acting comeback in the future. 

picture. If they had showed the monsters 
only in close-ups, if they had kept the 
camera up around their heads, it might have 
had more impact, but the long shots spoiled 
the moment. For the small kids, it was all 
right, but This Island Earth was, in some 
ways, a rather thoughtful story, and it was 
just too bad that they had to have those in 

If Reason hoped that his heroic thesping 
in This Island Earth would change his screen 
image, Universal quickly dashed his hopes 
by returning him to deep-dyed villainy in 
films like 1955's Kiss of Fire (as the ruthless 
Governor of New Mexico) and the same 
year's Smoke Signal (as a conniving cavalry 

"But I enjoyed those villainous roles, 
because I could lose myself. To my mind, I 
wasn't good-looking enough to be a Rock 
Hudson or somebody like that, so I felt 
much more comfortable with some of those 
character roles. I knew how to act, I came 
off the stage, so to me, acting was important 
and I always did my job as well as I could. 
But I never really had any objective of get- 
ting to be a star or anything, I felt it was just 
part of the activity of growing up." 

voyage to Black Lagoon 

Reason couldn't have been overly pleased 
with his next assignment, The Creature 
Walks Among Us (1956). The third install- 
ment in Universal's popular and profitable 
Gillman trilogy, Creature Walks is notches 
below the earlier Creature films in quality 
and to this day remains a slightly sore spot 
for its stalwart star. 

As a Universal player, Reason emoted at 
the mercy of studio execs, all the while 
trying to keep his good name intact. 

"If I had known that it would be shown 
on television and been around, I wouldn't 
have done it, to tell the truth," Reason con- 
fesses. "I did the film feeling it was just a 
job, but I really hadn't anticipated the 
possibility of it getting on television. There 
weren't too many movies of that type on TV 
at the time, and I thought of it as a picture I 
would be able to simply put behind me. I 
thought it was corny." 

Former assistant director John Sherwood 
assumed directorial duties on this final 
Creature outing while Reason was reunited 
with This Island Earth's Jeff Morrow in the 
leading roles. A Gillman-hunting expedition 
into the Florida Everglades is organized by 
Morrow, a slightly batty surgeon who 
spends most of his time bickering about 
evolution and casting fishy stares in the 
direction of his sorely-tried bride Leigh 
Snowden. Between verbal sparring matches, 
Morrow and fellow scientist Reason track 
down and capture the Giilman, who is 
transformed by fire into an air-breathing, 
smooth-skinned, Frankensteinian brute in a 
baggy sailcloth jumpsuit. Eventually, the 
Creature rebels, kills Morrow and lumbers 
instinctively back to the sea and a presumed 
drowning death. 

Like Jeff Morrow, Reason remembers 
precious little about his Creature encounter 
except that there were no challenges for him 
as an actor. "It was a comedown after This 
Island Earth and Kiss of Fire, a downer, ' ' he 
sighs, and once again wishes aloud that he 
had had the foresight to turn down the 
assignment. Adding to his unhappiness is 
the fact that he still carries a scar from his 
Creature experience: "We had an accident 
while we were shooting the scene on the mo- 
torboat. There was a little lantern on board 
which fell over and started a fire. I jumped 
out, but there was a piece of metal on the 
boat's side that ripped open my ankle." 

Like John Agar (FANGORIA #54), who 
quit Universal when he realized that SF roles 
were all the studio planned for him, Reason 
was becoming extremely wary of genre 
assignments. When Universal initially an- 
nounced The Deadly Mantis in mid- 1956, 
Reason and Mara Corday were slated for 
the leads. But the actor finally put his foot 
down. "That was one picture when I finally 
spoke up and told them I didn't want to do 
it. To me, it was very corny. I knew that the 
monster would be the star and I felt that I 
was worth a little more than just to support 
a praying mantis." As it turned out, Reason 
needn't have made a fuss over the proposed 
role: The Deadly Mantis wasn't shot until 
after the mid-50s Universal shake-up in 
which most of the studio's contract players 
were dropped from the payroll. When the 
film finally went into production in July 
1956, Craig Stevens and William Hopper 
were sharing the top male slots opposite 
femme lead Alix Talton. 

Now a freelancer, Reason continued to 
work in movies (mostly Westerns) and in 
television. His first TV series was the syn- 
dicated Western Man Without a Gun, which 
lasted 52 episodes. His second, The Roaring 
(continued on page 62) 

28 STARLOG/A/arc/7 1989 

Dusting off his 

proton blaster, 

this Chostbuster 

prepares to scare 

up new laughs. 


It had been four long years since Bill 
Murray haunted movie theaters with 
Ghostbusters. But this past Christmas, 
Murray resurfaced to raise different spirits 
as Frank Cross, the curmudgeonly network 
president who tried to siphon every last buck 
from the pockets of holiday television 
viewers in Scrooged. In the tradition of 
Charles Dickens' classic A Christmas Carol, 
Cross' life was forever altered by the ap- 
pearances of ghosts past (David Johansen), 
present (Carol Kane) and future, each of 
whom instilled in him the true meaning of 

The opportunity to make Scrooged first 
arose well over two years ago, but Murray 
elected to wait and enjoy his free time. 
Finally, the desire to perform again hit. 
"But when I wanted to work, the scripts 
were just not good," Murray explains. 

Will the team of Murray and Carol Kane be reunited in future films? "Over my dead, 
lifeless body," reports the actor. 

Then, he returned to the Scrooged idea. 
"We tore up the script so badly that we had 
parts all over the lawn. There was a lot I 
didn't like. To remake the story, we took 
the romantic element [Frank's relationship 
with his former girl friend, Claire, played by 
Karen (Starman) Allen] and built that up a 
little more. It existed in the script's original 
version, but we had to make more out of it. 
The family scenes were kind of off, so we 
worked on that. 

"We shot a big, long sloppy movie, so 
there's a great deal of material that didn't 
even end up in the film. It just didn't work. 
You tend to forget what was wrong. It's 
hard. I just figured that anyone who's good 
could step into this part and have a lot of 
fun with it. It's sort of a wicked character. 
The idea of making a funny Scrooge was an 

IAN SPELLING, NY-based writer, profil- 
ed Martin Landau in issue #139. 

ST ARLOG/ March 1989 29 

Back off, man, Bill Murray is a 
Ghostbuster again! 

inspired touch. That's what was appealing 
to me about it." 

After collaborating with writers Mitch 
Glazer and Michael O'Donoghue (who pen- 
ned Saturday Night Live's first Star Trek 
spoof, published in STARLOG #14), Mur- 
ray felt confident enough to begin shooting. 
Director Richard Donner (STARLOG #93, 
97), who has helmed such diverse projects as 
Ladyhawke, Superman and Lethal 
Weapon, had never before dealt with an im- 
provisational comedian as his leading man. 
Donner considered his task as simple or as 
difficult as keeping his star in control and 
positioning performers around him. As time 
passed, however, Donner discovered the 
true actor in Bill Murray. 

"You don't direct Billy, you pull him 
back," admits Donner. "Billy really became 
an actor to me during Scrooged. I had 
always thought of him as an entertainer. 
Now, having worked with him, I could see 
him playing a heavy. He's a good enough 
actor. You give him a platform, make him 
as comfortable as possible, and he comes at 
you in every direction. He did for me." 

Seasonal spooks 

Despite Donner's assertion that Murray 
came into his own during the Scrooged 
shoot, Murray himself claims to have learn- 
ed more about the pressures of 
singlehandedly carrying an entire produc- 
tion. Chostbusters starred Harold Ramis, 
Dan Aykroyd, Sigourney Weaver, Rick 

Moranis, Ernie Hudson and Murray, 
spreading the on-the-set responsibility 
among the leads. "Scrooged was harder 
[than Chostbusters] because I was by 
myself, really. Even though there are a 
number of people in the movie, they only 
had cameos. They would stroll in for a day 
or two and split. I was there every day," 
Murray notes, "and it was like flunking 
grade school again and again." 

Worse yet, Frank Cross evolved into a 
physically demanding role when Murray 
began sharing scenes with Carol Kane. As 
the Ghost of Christmas Present, Kane 
punched, pinched and pummeled Murray 

The work frustrated the emotional ac- 
tress, who, according to both Murray and 
Donner, melted into 20-minute-long crying 
jags at inopportune moments. As painful as 
the role was for Kane, Murray suffered 
more for his art. "There's a piece of skin 
that connects your Up with your gums and it 
was really pulled away," recalls Murray of 
one encounter with Kane. "She really hurt 
me, but it was my idea to be physical and it 
was her idea just to hit me as opposed to 
- pulling the punches." 




Convincing Murray to again don his 

proton pack alongside buddy 

Dan Aykroyd wasn't easy. 

"I was the last holdout," 

admits Murray. 

All work and no play? That's not true as 

David Johansen and Bill Murray are caught 

out of character and costumes in this 

candid shot on the Scrooged set. 


A ii & 




A happier relationship will resume as Sigourney Weaver floats back into Murray the 

Ghostbuster's life. 

"Billy really became an actor to me during 
Scrooged," says director Richard Donner. 

Asked if he would consider teaming with 
Kane again in the future, Murray chuckles, 
and in a sly does-he-really-mean-it tone, he 
replies, "Over my dead, lifeless body." 

The word "pressure" pops up often. 
Though Murray tries to laugh it off, there's 
truth to the thought that a great deal — his 
stature in Hollywood and his immense 
popularity with audiences — may have been 
riding on the box office fate of Scrooged. 
"I've had some success in movies, so I really 
don't think about success. You like to have 
it," Murray admits in a reflective moment, 
"but I'm not desperate for it. I'm pleased if 
people really like Scrooged. If many people 
see it, I'll be happy, not just because it 
makes money, but it would mean people 
said, 'You should go see this movie.' 

"Scrooged was a miserable gig. I had 
much more fun on The Razor's Edge, which 
made no money. But I got to go around the 
world and meet all kinds of people. On 
Scrooged, I was trapped on a dusty, smelly 
and smokey set in Hollywood for three-and- 
a-half months, having a lousy time by 
myself, and just coughing up blood from 
this fake snow that was falling all the time. 
So, the work is everything." 

Spectral Sequel 

Murray promises the wait for his next 
movie won't be nearly as long as the one for 
Scrooged. "It's not going to be called 
Ghostbusters II," he reveals. "We'll burn in 
hell if we call it Ghostbusters II. I've sug- 
gested The Last of the Ghostbusters, to 
make sure there won't be anything like a 
Ghostbusters III. But the script is nowhere 
near ready, and we start shooting soon. 
[Filming, in fact, began at presstime, 
November 28.] Jeez, more pressure. We'll 
figure it out. . .or we won't. 

"I was the last holdout. They finally just 
waved too much money in my face," laughs 
Murray. "I really didn 't want to do it for all 
the obvious reasons, but the reasons to do it 
were obvious, too. With Dan and Harold 
and Moranis and Sigourney, we really had a 
ball. That's really the most fun I've had on a 
movie. It's the most fun group to be with. 

"We weren't so crazy about making 
money, or being desperate, and it worked," 
he confesses. "Finally, Dan and Harold 
said, 'We've got some ideas here. What do 
you think?' We spent a couple of days talk- 
ing, and they did have some amazing ideas 
for this story." 

Shortly before presstime, even Murray 
couldn't confirm Sigourney Weaver's par- 
ticipation in the sequel. In the years since the 
original Ghostbusters, Weaver (STARLOG 
#109) has established herself as a major 
Hollywood force. Based on her Academy 
Award-nominated performance as Ripley in 
ALIENS and the financial triumph of 
James Cameron's film, producers consider 
the actress "bankable," meaning she wields 
enough clout to see as controversial and un- 

commercial a movie as Gorillas in the Mist 
brought to the screen as a vehicle for her. 
Though Murray jokingly refers to Gorillas 
as "The Monkey Movie," Weaver's star has 
risen to the point where accepting a minor 
role in a Ghostbusters adventure could 
represent a poor career move. 

"She's not even in the cartoon, so I don't 
know if she's going to be in the film," Mur- 
ray says. "The original idea was that she 
would be in it. The ideas they sold me on to 
say, 'OK, let's do it,' are no longer in the 
script. Sigourney was one of those ideas. 

"They've gone all the way around trying 
to figure out how to make it. I had to audi- 
tion with some actresses, but we all like 
Sigourney. The only problem with 
Sigourney is she's so tall. Naaah, I'm just 
kidding. She's tall, but she's not too tall. 
The problem is that you would wind up with 
a story that was tilted and like the Flintstone 
family. Sigourney and I would be this major 
thing and it would be hard to figure out how 
the Ghostbusters' dynamic would grow. The 
sort of story they were writing ended up not 
really needing the other three guys." 

Fortunately, though, matters have been 
settled. Reached at presstime, Weaver con- 
firms she will be in The Last of the Ghost- 
busters as "the female lead, as far as I 

Murray looks forward to the filming — 
sort of. "Oh, what the hell," he sighs. 
"Even if it's a dog, this sequel's going to 
make money because so many people are 
going to say, 'Let's see if they ruined it' or 
'Let's see if it's any good.' It's a creative 
process and that's all that counts. We've got 
a few weeks yet," Bill Murray notes. "It 
should be interesting." w 

32 STARLOG/Marc/! 1989 





JANUARY 28-29 

Penn Tower Hotel, 

Civic Center Blvd. at 34th 



(Uhura of Star Trek), 


Paramount Pictures Star 

Trek Office), and PHILIP 

AKIN( star of the new War 

of the Worlds) 



Holiday Inn Pyramid, 5151 

San Francisco Road NE. 


(Chekov of Star Trek). $130 




PLAZA, 300 Army Navy 

Drive, Arlington 

(notice new hotel) 




(War of the Worlds) 

Peppers at Day's Inn Hotel 
Downtown, 88 East Broad- 
way. First time in this city, 

should be great. 



Hotel San Diego, 339 West 



of Star Trek), and SUSAN 


( Gene Roddenberry's 

Assistant on STNG) 



Penta Hotel 

A very special convention 

that covers all areas with 

some great guest stars! 


MARCH 4-5 

Red Lion Inn, 1616 Dodge 


Another first time city 

With Nichelle Nichols 

of Star Trek! 


MARCH 11-12 

Sheraton Hotel, 

Central and Adams 


MARCH 18-19 

Hotel El Rancho 

1029 W. Capital Ave. 


APRIL 1-2 

lllikai Hotel 

177 Ala Moana Blvd. 

With tentatively JIMMY 


(Scotty of Star Trek), 


SIMONSON, (of Marvel 



APRIL 8-9 

Annual Fangoria 

"Weekend Of 


Airport Hilton and 

Towers. Our annual 

Salute to HORROR in the 

Media co-sponsored by 



APRIL 15-16 

Park Plaza Hotel, 

155 Temple Street 


APRIL 15-16 

Showboat Hotel 

With Nichelle Nichols 

(Uhura of Star Trek) 


APRIL 29-30 

Holiday Inn Genesee, 

120 Main Street East 


MAY 20-21 

Holiday Inn Airport, 

8439 N.E. Columbia Blvd. 



of Star Trek) and 



JUNE 3-4 


AND TOWERS, 5711 W. 

Century Blvd. 


all-star bash everyone 
tries to be at! This year 


be saluting the release of 

STAR TREK 5. Make your 

hotel reservations early 

for this spectacular event! 


JUNE 10-11 

Dearborn Civic Center 


JUNE 10-11 

Adam's Mark Hotel, 

2544 Executive Drive 

First time in this city. 

Nichelle Nichols is 

our special guest 


JUNE 24-25 

Penta Hotel 

Multi Media Convention 


JULY 1-2 

Day's Inn Airport 

8401 Cedar Avenue So. 



JULY 1-2 

Jefferson Sheraton 

Tables: $140 


JULY 8-9 

Howard Johnson 

Center Street 

(Exit 41) 

off I-95 

Windsor Locks 


JULY 29-30 

Center of New 


Holiday Inn 



Penn Tower Hotel 


Airport Sheraton 

AUGUST 12-13 
Red Lion Hotel 


AUGUST 19-20 

Hilton Hotel 

Creation's Salute to Star 


comes to Alaska 

for the very first time! 


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Something was 
Out There . . . 

When the mini-series hit went weekly, it lost 
its alien nature— and its human audience. 


Something Is Out There. But not 
anymore. The latest network attempt 
at translating science fiction into a 
successful weekly series has gone the way of 
"V" and, to a large extent, for the same 
reasons. Ergo: A bad time slot or, more 
specifically, a bad Friday night time slot 

Coast Correspondent, profiled Bob 
Dolman in issue #139. 

which is like standing room only in a 
graveyard. Ergo II: That inevitable time and 
budget squeeze that reduces the best inten- 
tions to an inescapable television bottom 
line. Ergo III: A change in direction that 
resulted in the failure of Something Is Out 
There: The Series to do what Something Is 
Out There: The Mini-Series did — which was 
to attract a large viewing audience. 

Kicking an alien corpse is easy (although 
not recommended). Nevertheless, executive 

Maryam d'Abo and Joe Cortese may just 
as well be looking at the less-than-out-of- 
this world ratings that lowered the boom 
on Something Is Out There. 

producer John Ashley saw the handwriting 
on the wall some months ago when the vic- 
tim was still breathing. 

"Based on the numbers we've been get- 
ting so far, we will probably not get renew- 
ed," explains the straight-shooting Ashley 
during a late November interview. "At this 
point, we're just trying to do the best shows 
that we can for whatever time the series 
has left." 

Ashley, just back from the set where epi- 
sode eight is filming, indicates that what's 
left may be only a matter of weeks. NBC has 
committed to 13 episodes of the science-fic- 
tion/cop series. After a stumbling start op- 
posite Dallas, the show was recently moved 
back an hour and up against Beauty & the 
Beast, where things, ratings wise, have got- 
ten worse. And the bad news, he claims, has 
started to filter down to the cast and crew. 

"These people are pros but I've started to 
notice some of them making phone calls 
during their lunch hour testing the waters 
for other work. Everybody's doing the best 
that they can to make the best 13 shows we 
can, but you can't blame them for checking 
out future work." 

It has been a rough genre year for John 
Ashley. First, his and co-producer Frank 
Lupo's Werewolf 'series bites the silver bullet 
and now Something Is Out There is poised 
on the verge of extinction. It's no wonder 
that Ashley feels just the slightest bit 
betrayed by his fantasy experiences. 

"I think, at this point, I'm kind of 
science-fictioned out," he chuckles. "Los- 
ing two genre series in one year must be 
some kind of record. I've got a couple other 
television things in the works, but they'll 
definitely be reality-based." 

Why series? 

Something Is Out There, starring 
Maryam d'Abo and Joe Cortese, became a 
creative glint in writing partner Frank 
Lupo's eyes in 1987. Originally entitled In- 
vader, the storyline followed the often 
Moonlighting-like relationship between 
streetwise cop Jack Breslin (Cortese) and 
beautiful E.T. Ta'ra (d'Abo) as they track 
down a shape-changing killer alien wreaking 
havoc on Earth. NBC liked what they read 
and heard and ordered Something Is Out 
There as a four hour mini-series for broad- 
cast in May '88. 

With a $7.5 million budget and four 
hours to play around with, Ashley and Lupo 
went for FX-broke. Rick Baker, a longtime 
fan of Ashley's grade-Z films, jumped at the 
chance to create the killer alien. John 
Dykstra did likewise for special FX duties. 
Something Is Out There was shot in 41 days 
on locations in Los Angeles and Australia. 
Ashley recalls that there were murmurs even 
then of something lurking out there beyond 
the mini-series. 

"Anytime you do a mini-series or a two 
hour film, it's always in the back of 

34 STARLOG/Marc/! 1989 

Executive producer John Ashley was given a choice, have his 
lovely E.T. (Maryam d'Abo) go against the Ewing clan or not go 
on TV at all. 

n a last ditch effort to save the series, the show returned to 
the mini-series' successful formula, pitting Jack Breslin 
(Cortese) against things from Out There. 

everybody's mind that it will serve as a 
backdoor possibility for a series. By the time 
we finished filming, we were convinced that 
if the ratings were good, we would get a go 
for a weekly series," remembers Ashley. 

Something Is Out There aired over two 
nights in May 1988, captured excellent 
ratings and was announced as a regular 
series a week later by NBC honcho Brandon 
Tartikoff. Ashley and Lupo toasted their 
good fortune and began dealing with the 
reality of putting Something Is Out There 
out there on a weekly basis. 

"Things definitely change fast when a 
mini-series or movie becomes a weekly 
series," says Ashley. "It's great when 
you've got four hours, $7.5 million and the 
talents of Rick Baker and John Dykstra to 
play around with. But what happens when 
you're suddenly cut to a million per episode 
budget, don't have the talents of Baker and 
Dykstra and have to take the mini-series 
concept to the next level while turning out 
an hour a week? What happens is that you 
make some changes." 

One of the major changes was to throw 
out the idea that Something Is Out There 

would become a "monster of the week" 

"We couldn't afford nor did we feel that 
the audience would necessarily want to see a 
creature every week," Ashley explains. 
"When we went to series, we decided to 
spend more time developing the relationship 
between Jack and Ta'ra and to focus more 
on her special abilities. We felt that focusing 
on the relationship and keeping the series 
within a science-fiction framework would 
do the job." 

Ashley recalls that there was also the mat- 
ter of a truly terrible time slot. 

"Let's face it, nobody goes out and begs 
to be opposite Dallas," he cracks. "But 
Brandon [Tartikoff] was honest with me. 
He said, 'Here's your option. If you want to 
go on the air this fall, I can give you Fridays 
at nine.' I asked him what the other option 
was and he said, 'Not to go on.' " 

Something Is Out There went on and im- 
mediately found itself heading towards the 
ratings basement. According to Ashley, 
Dallas was only part of the problem. 

"In the early episodes, we felt we had 
pulled our reins in too far. We discovered 

that many people were expecting an alien 
every week, because of the mini-series, and 
were being disappointed. And even though 
the stories were focusing on such topics, like 
telekinesis and mind reading, that bordered 
on science fiction, we weren't attracting the 
real hardcore science-fiction/action fan who 
wanted ray guns and spaceships. What we 
were giving them just wasn't working. 

"So, we took a step back and looked at 
what elements made the mini-series work 
and made the later episodes along the lines 
of where the show should have gone. We 
went back to basics. We brought the 
creature from the mini-series back for a two- 
part episode, gave Ta'ra some additional 
powers and made the show more science fic- 
tional in nature. And rolled the dice once 

Where wolf? 

The last time John Ashley rolled the dice 
on a genre crap table, they came up with 
Werewolf (FANGORIA #68). And for a 
while, that show appeared to be coming up 
sevens and elevens. But corporate boxcars, 
(continued on page 64) 

STARLOG/ March 1989 35 



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The career of Ray Harryhausen. 



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Please allow 4 to 6 weeks for delivery. 

Eric Stoltz 

son of Fly 

Be afraid. Be very afraid. 

He's the new generation 

of Brundlefly. 


ric Stoltz is a very focused actor. 
That becomes obvious during a set 
visit to The Fly II. Brooksfilms' 
Canadian-based sequel to the 1986 horror 
hit. The interview takes place in the "control 
booth" of the telepod set at Bridge Studios. 
British Columbia. Perched a dizzying three 
stories above the floor, the glassed-in booth 
looks down upon a raised platform, and on 
that platform, bathed in floodlights, stand 
the squat shapes of the first film's telepods. 

The actor, who plays Martin Brundle, son 
of the tragic scientist-turned-insect essayed 
by Jeff Goldblum, walks in with rapid 
strides and sits himself down near a table 
filled with futuristic props. He's clad in a 
multihued shirt so colorful, "loud" isn't the 
word for it — it shouts his presence from the 
rooftops. The day before, when Stoltz was 
introduced as "Marty," it was explained the 
young performer likes to stay in character 
on camera and off. 

Forewarned, but not necessarily forearm- 
ed, the first question is gingerly posed, "Are 
you in character now?" and is met by the 
confident reply, "Yes, always!" A worn 
close to panic arises as the question sheets 
re: this interview are scanned. All queries are 
addressed to Stoltz, not his celluloid alter- 
ego. What does Martin Bundle know about 
Eric Stoltz? Probably precious little. They 
may inhabit the same body, but they haven't 
been formally introduced. However, seeing 
the evident concern, "Brundle" volunteers, 
"I'll try to answer questions about him to 
the best of my ability." 

As it happens, all the fears are largely un- 
founded: Apart from a few lapses, including 
a request to be called "Martin," Stoltz 
answers as himself. 

Stoltz co-stars with Daphne (Spaceballs) 
Zuniga, Lee (Prizzi's Honor) Richardson 
and John (Blood Simple) Getz, the only 
member of The Fly who has returned to 
reprise his role. Though the cast is almost 
entirely new, Fly II still carries the story for- 
ward from the original film. Spawn of an 
insect-man and his fully-human mate, Mar- 
tin at first is unaware of his arthropod 
heritage. In fact, Martin is superficially nor- 
mal, save for an accelerated growth rate that 
takes him from birth to his early 20s in just 
five years. 

"Fly" specs 

The plot takes wing when Martin is 
adopted by ruthless millionaire Anton Bar- 
tok (Lee Richardson). Hoping some of his 
father's genius might have rubbed off on the 
young man, Bartok assigns Martin the for- 
midable task of making the telepods func- 
tional again. When Marty learns the terrible 
truth — that he may be metamorphizing into 
an insect himself — it's a race against time as 
the young man uses the telepod to try and 
find a cure for his malady. 

But there's no question as to who "Mar- 
tin Brundle" really takes after. "I think 

correspondent, examined MAC & Me ;/; 
STARLOC #136. 

STARLOG/Aft//r/i 1989 37 




"Dad, is it OK if 1 use the 



telepod tonight?" 





(Eric Stoltz) certainly knows 


. '-- 

f ■• 

how to show Beth (Zuniga) 




a good time. 









Marty is very much his mother's 
son — shares more of her traits than his 

t j 




father's. Marty exhibits her courage and 

f '3|Ii|| 



compassion through most of the film." 
When he first received the Fly II script, 

Hem . a/Ik ic 

b B9Pr j 


Stoltz gave it a thumbs down. "I thought it 

^ fiT ' 

Hji «» 


was poorly written," he says candidly, "so I 

i W/m/j 

1 V^^^k. •■ 


rejected it. About four months later, I 




received another draft, which was much bet- 

i W 

gfa ^ 

L j 

ter written. Then, I was asked to meet with 


\ ttH 


i .- 

[director] Chris Walas. I did, and I was able 

It's the same old story. Boy meets girl 
(Daphne Zuniga). Boy turns into a hideous 
hybrid. Perfect for Valentine's Day. 


to express my interest in the film as well as 
my fears about it. I found we got along very 
well, so 1 decided to accept the part." 

Once his name was on the contract, Stoltz 
began to prepare for his assignment in 
earnest. He screened The Fly, but admits, "I 
really had a hard time looking at that movie 
because, frankly, it scared me." On a more 
positive note, Stoltz sought the advice of 
original movie leads Jeff Goldblum 
(STARLOG #85) and Geena Davis 

OK, so his father dissolved this guy's hand 
and foot, but Marty (Stoltz) still counts on 
Stathis Borans (John Getz) for help. 

(STARLOG #131). The task of finding 
them was eased by the fact they are now 
real-life husband and wife. 

"I talked to Mom and Dad up at their 
house," declares Stoltz, suddenly reverting 
to "Martin" once again, "and they were 
quite helpful. They told me many stories 
about The Fly's production and gave me 
hints about how to deal with special EX." 

Some actors might be afraid of being 
typecast as a "genre" performer, but Stoltz 
dismisses the notion. Comments the actor, 
"I'm an SF fan, but horror? I just don't 
know. As I've said, it frightens me and I 
have a tough time watching it. I'm not 
afraid of being a genre actor, though. True, 
this is my first stab at horror, but I figured, 
'Why not?' And it's not just SF or horror; I 
would like to try every genre, even musical 

Stoltz isn't the only horror "fledgling" in 
Fly II. Chris Walas, one of the best-known 
figures in the FX industry, makes his direc- 
torial bow on this film. "Chris is a maniac," 
Stoltz exclaims, "a regular maniac! Anyone 
who has seen him work will agree. I do 
mean that in a positive way. What I mean is, 
he's always on the go, never stopping for a 
minute even though he has been tired. He's § 
like some newspaperman — he's here, he's J 
there, he's everywhere on the set." t 

Audiences go to movies for entertain- g 
ment, not education, but still, Stoltz believes | 
there's a gold mine of profound truths « 
beneath Fly ITs visual thrills. As he sees it, if - 
audiences look deeply enough, they might f>! 
come away with a few nuggets of wisdom. | 
Take Martin's accelerated growth rate, for *£ 
example. A mere plot device? Perhaps, but | 
the actor says there's more. ^ 

"I don't see Martin as a victim," Stoltz J 
argues, "but as a human being with a 
heightened sense of reality. All humans 
come to realize they are decaying and will 
eventually die. Marty has an accelerated life 

Having already worn extensive makeup 
appliances as Cher's misfortunate son in 
Mask. Stoltz knew the horrors to come 
with his Fly II transformation. 

STARLOG/March 1989 39 

There is nothing this actor 
won't do for his craft. 
In Haunted Summer, 
Stoltz as Percy Shelley 
discusses a drug-induced 
vision with Mary 
Goodwin (Alice Krige). 


In the little-seen Lionheart, Stoltz brandished his metal against Roger (007) Moore's 
daughter, Deborah Barrymore. 

cycle, and so he has an accelerated sense of 
time. But if he's a victim, then we all are!" 
Even the basic plot of Fly II is allegorical, 
at least to a degree. According to Stoltz, the 
movie preaches the "dangers of a corporate 
mentality and of turning things over to them 
that are beyond our grasp." 

"Fly" Papers 

Standard bios record his theater training 
at age 10, and trumpet his "great love of 
acting," but Stoltz, who first appeared on 
screen in Fast Times at Ridgemont High, 
paints a slightly altered picture. "I never 
grew up wanting to become an actor," he 
recalls. "It was just something I ended up 
doing. I still don't know if I want to be an 
actor; I'll make that decision when I grow 
up, whenever that will be." 

Most young actors stick to contemporary 
themes, but Stoltz seems to be cast from a 
more adventurous mold. Within the last two 
years, he has essayed not one but two 
historical roles, one based on fact, the other 
on fiction. 

40 STARLOG/March 1989 

In Lionheart, a lavish costumer reminis- 
cent of El Cid or Ivanhoe, Stoltz is Robert, a 
young knight who leaves the Crusades and 
embarks on his own private quest. En route, 
he teams up with some orphan children and 
together they search for King Richard the 

Rumor has it that the barely released epic 
is a sword-and-sorcery tale, a kind of "Co- 
nan goes to the Crusades." Stoltz disagrees. 
"Lionheart," the actor maintains, "is a 
pretty straightforward historical picture, 
with no sorcery elements in it at all. We used 
authentic locations, including many real 
castles. It was filmed in Hungary and Por- 
tugal; first, outside of Budapest in the Lake 
Balatan region, then in a tiny village about 
200 miles north of Lisbon. The community 
was on a hill, surrounded by a wall that was 
built in the 14th century." 

Lionheart also features what may be the 
most jousting seen in movies since Charlton 
Heston hung up his gauntlets. "There was a 
great deal of horseback riding and sword- 
play," remembers Stoltz, "so much so that 

we had a fencing master to teach us all the 
right moves. All the battles in the movie had 
to be extensively choreographed." 

While working on Lionheart, Stoltz 
discovered a whole new meaning to the 
phrase "heavy metal." "The movie was 
authentic," chuckles the actor, "so we had a 
lot of armor to wear. And heavy? It had 
quite a bit of 'heft' to it, so even getting up 
on a white stallion was quite a feat. Often, 
there would be two or three assistants 
pushing me up to help me mount!" 

His other costume outing, Haunted Sum- 
mer, might create a false impression due to 
its title. Despite the name, it's "not a horror 
or Gothic movie because there are no major 
events in the film that didn't actually hap- 
pen. Everything is based on actual journals 
and diaries of the period." 

Haunted Summer is basically a recount- 
ing of how Mary Shelley conceived and 
wrote the horror classic Frankenstein in the 
early 19th century. Stoltz essays the roman- 
tic English poet Percy Bysshe Shelley, 
Mary's husband and in some respects her 

Stoltz, who also appeared in another 
Gothic thriller, Sister, Sister, devoured all 
the books he could find on the poet and 
came away with a profound admiration for 
the man and his era. "Shelley was an anar- 
chistic, hedonistic genius. The movie was 
made in Italy and Malta, near some of the 
actual sites he visited. I hope audiences will 
see a very lovely film. 

"There are some FX in the movie," 
Stoltz notes, "but I don't know — nor do I 
know how they might have handled it. We 
filmed a couple of opium 'trips,' in which I 
supposedly see my wife change form. But 
again, I don't know how it turned out. I 
haven't seen the completed picture." 

It's no secret Fly //relies on the heavy use 

of special makeup FX to achieve, at least in 

part, its illusion of horror. Stephan 

(continued on page 72) 



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****'- ■*■■ — •■*" 

True Facts 





Aside from co-writing the 

script with Terry Gilliam 

for The Adventures of 

Baron Munchausen, 

Charles McKeown put 

in time as an actor, 

an actor playing 

Adolphus and as 

the real Adolphus. 

He was busy. 

Visiting his pals, "Baron Munchausen" and "Erik the Viking," Charles 
McKeown writes back about his bizarre trip to "Brazil." 

Charles McKeown can't always decide 
which hat he prefers to wear. "When 
I'm writing, I would prefer to be act- 
ing, and when I'm acting, I would prefer to 
be writing!" he laughs. 

Although McKeown may not be instantly 
recognizable, his face is rapidly becoming 
more and more familiar on-screen. For a 
time, McKeown's most notable role was as 
part of the repertory company assembled by 
Monty Python for their Life of Brian, but 
he also had a brief, seriocomic bit in Brazil 
as a bureaucrat who shares a desk — but not 
an office — with hero Sam Lowry, played by 
Jonathan Pryce (STARLOG #105). 

But away from the cameras, McKeown 
has helped to script some of the biggest fan- 
tasy films of the '80s, including The Adven- 
tures of Baron Munchausen and Brazil with 
Terry Gilliam. He also worked on the Bat- 
man screenplay. However, it is on the set of 
Terry Jones' Erik the Viking, in which he 
again appears as an actor, that McKeown 
discusses writing, acting and the Pythons. 

Baron Munchausen, for the first time, 
finds his on-camera role nearly as prominent 
as his off-screen involvement. Munchausen 
is an epic fantasy, based on the legendary 
stories of the world's greatest liar brought to 

life by co-scripter McKeown and co- 
writer/director Gilliam (their second such 
collaboration). McKeown says Gilliam ask- 
ed him to co-write the Munchausen script as 
a result of their work together on Brazil. 

Gilliam had been contemplating Mun- 
chausen for several years prior to its script- 
ing. "Terry had been given a book a few 

years earlier called The Adventures of Baron 
Munchausen, illustrated by Dore. It con- 
tained the stories of the Baron; a few of 
them were the ones that everyone knows, 

STARLOG correspondent, previewed 
Jake's Journey in issue §136. 

STARLOG/ 'March 1989 45 

ng, a young mans tancy turns to 
blue screens?! McKeown was faced with 
the task of turning all the Baron's little 
episodic tales into one cohesive storyline 


Not quite a dirty vicar skit, 
but it's still something 
completely different. 

The Adventures of Baron Munchausen and 
couldn't wait to become part of it. 

some of them were inappropriate. But they 
were mostly just little episodic tales, so there 
was no structure or narrative. What we had 
to do was put together a story to connect all 
the little episodes," explains McKeown. 

The pair developed the tale of a city under 
siege. A theatrical company trapped in the 
walled city performing the Baron Mun- 
chausen stories is astonished at the arrival of 

1 a man claiming to be the Baron himself, ac- 
i companied by his band of followers. The 
; world's greatest liar then takes them on an 

2 adventure that ranges from beneath the 
I ocean to the surface of the Moon and into 

the belly of a whale. With a cast headed by 
Monty Python teammate Eric Idle and 
Shakespearean great John Neville in the title 
role, the special FX department put in over- 
time to create numerous fantasy sequences. 

The production was beset with problems, 
however, ranging from running overbudget 
and threats to replace Gilliam to language 
problems while lensing in Rome and Spain. 
Shooting was actually forced to begin before 
Gilliam himself was ready, putting produc- 
tion behind schedule almost from the start. 
Originally, they had planned to shoot Mun- 
chausen earlier, but another factor arose. 

"Terry had 'The Battle of BrazW going 
on, which took a lot of his time," says 
McKeown, referring to the director's strug- 

the fantasy film (STARLOG #92, 102). 

"Had it not been for that, we would have 
probably started Munchausen sooner. But 
in a way, we benefitted. The script got better 
because we let it alone — we took time away, 
and went back and rewrote it." 

Despite the time spent developing the 
script, McKeown says it remained the same 
story'. "I don't think the basic structure 
changed very much," he says. "The story 
idea stayed the same. The characters and 
many details changed in the process, but the 
basic ideas that construct everything didn't. 
Even though the characters were all revised, 
the most significant change was during its 
making, when we started to run out of 
money and we had to make alterations." 

Probably the most important difference 
occurs in the scene on the Moon. Sean Con- 
nery was originally scheduled to play the 
Moon King in a lengthy sequence. When the 
scene was greatly pared down, Connery 
dropped out to be replaced by Robin 
Williams, which necessitated more changes. 

"I think the Moon scene works very well 
now with Robin Williams," McKeown com- 
ments. "The sequence as it originally stood 
was, in a way, a much grander, a much 
more Gilliamesque sequence. We had to 
make it shorter. What happened was that 
the King of the Moon had this great court 
with 30 subjects; we saved a great deal of 
money by completely depopulating the 
Moon, reducing it from a population of 30 

Brazilian Fights 

Their writing collaboration was similar to 
their previous method of working, 
McKeown notes. "We would discuss the 
scenes at length, then I would go away and 
write some stuff on the basis of what we had 
discussed. Then, we would meet again, and 
talk about what we had written and what 1 
would write next. Then, I would go away 
and do some more. That's the way I worked 
on Brazil with Terry. We progressed 
through the script like that," McKeown says 
of the work style which earned them an 
Academy Award nomination for BraziTs 
screenplay. Also, he has since found himself 
involved in yet another aspect of the Baron, 

\* ■■ 

writing the novelization of the Munchausen 
screenplay for Methuen Books. 

The writing proved to be easier than the 
filming itself, but McKeown was involved in 
both. "I play one of the Baron's gang of 
helpers," he explains. "I'm the one who can 
hit the bullseye at 15,000 miles. My 
character actually runs through the story in 
three forms. I play Rupert, the actor in this 
theater company who's playing the 
character of Adolphus. Then, the Baron 
comes along and turns me into the real 
Adolphus. So, I'm the actor, then I'm the 
actor playing Adolphus, and then the real 

Munchausen's shooting in Spain and at 
Cinecitta Studios in Rome was often taxing 
for both cast and crew. McKeown agrees. "I 
think many people were exhausted at the 
end, and I'm sorry that they didn't have 
more fun on it than they might have done. It 
was very grueling, though. I've never been 
this close to the center of the making of a 
picture before, and I was very interested in 
it, so my fascination to some extent eased 
the pain. Actually, living in Rome eased the 
pain somewhat; that was very nice indeed!" 

Brazil's shooting, likewise, was tough, 
though not nearly as beset with problems as 
Munchausen. The well-publicized problems 
with Brazil took place after principal 
photography had ended, when Universal 
wanted Gilliam to change the movie's 
downbeat ending. 

"The request for the happy ending was 
the most unsettling piece of news, and it was 
certainly worth holding out for the original 
ending. To have changed Terry's ending to a 
happier, lighter ending would have really 
rendered the entire film completely null and 
void. It would have made nonsense of it. I 
remember Terry getting bulletins of this bat- 
tle from time to time, and watching the 
stages of it drag on and consume peoples' 
energies," says McKeown. 

Although he only had a small role as a co- 
worker at the Ministry of Information, 
McKeown says the shooting of Brazil was 
rigorous. "It went on for a long time, and 
there was a great deal of model shooting, 
and I remember Terry being absolutely ex- 
hausted at the end. Although there was 
some location stuff in Paris and South Lon- 
don, it was mainly done in the studio in 

Wembley. People were in artificial light for 
months and months on end, and it was quite 
hard going." 

The Brazil script also involved playwright 
Tom Stoppard working with McKeown and 
Gilliam, though their collaboration didn't 
prove as satisfactory as they might have 
liked. "I actually talked to Terry about the 
script before Tom Stoppard was involved, 
and then Stoppard did some work on it. 
Then, when Terry was in pre-production, he 
wasn't entirely happy with certain aspects of 
it, he came back to me with the script, and I 
worked with him, I didn't work directly with 
Stoppard on the script, just with Terry. We 
went through it quite thoroughly; we chang- 
ed its tone and altered a few scenes. I can't 
remember precisely what changes were ef- 
fected — it has been a few years now!" 

Gotham Knights 

Strangely, his successful collaborations 
with Gilliam led him to work on the script of 
Batman for director Tim Burton (STAR- 
LOG #130). Burton had phoned the Python 
office and asked them to recommend so- 
(continued on page 64) 


"To have changed Terry's ending to a 
happier, lighter ending would have really 
rendered the entire film completely null 
and void," comments McKeown on the 
infamous "Battle for Brazil." 

Munchausen rides into the drink. But can 
he gallop on water? Even if he can't— he'll 
probably tell you he did. 

Of Mouse/& Men 


in the Tunnel world beneath our feet, David 
Greenlee builds new legends of "Beauty & 

the Beast." 


The trick with Beauty & the Beast is 
that the title refers to Catherine as the 
beauty and Vincent as the beast. But 
the truth of the matter is that the beauty is 
what's underground, what's between Vin- 
cent and Catherine, and what's between 
these other people and the beast is this 
oligarchy on top, and this world that makes 
violence possible," David Greenlee explains. 
The young, blond, elfin actor who plays 
Mouse in the TV fairy tale/fantasy ap- 
proaches Beauty & the Beast with the inten- 
sity he feels it deserves. 

"1 love the show's politics, to put it blunt- 
ly," he says. "For a long time, I thought I 
was the only person who thought the show 
had any politics or social statement because 
we were doing fantasy. At first, I thought 
Beauty & the Beast was a dumb idea. I 
thought, 'Linda [Hamilton] must have lost 
her mind,' but this is the kind of show that 
anybody would do, if they had any sense." 

Greenlee's character is one of the tunnel 
denizens, a teenager who speaks in 
telegraphic English and can build or fix 
anything. He is, Greenlee says, grinning 
cockily, "much like myself in some ways. 
Mouse is what I would be if I was really 
lucky. All my best points are Mouse." But 
Mouse is not Greenlee. "My sister Tracy is 
one of the people 1 think about a great deal 
when I'm acting Mouse, because Tracy has 
always been able to take a machine apart no 
matter what, since we were little, even if she 
didn't know what it was. She would put it 
back together and fix it without knowing 
how she fixed it," he explains. 

Although the breakdown sent out to 
casting directors specified "someone around 
30 years old and dark, and very different 
from myself," Greenlee explains, "George 
R.R. Martin [Beauty & the Beast writer and 
producer], my hero, and Tom Wright, one 
of our prime directors, asked me to come in 
for it, which I didn't know when I got there. 
The reading was very strange because of 
Mouse's syntax, everything all cut up. 1 read 
some dialogue that eventually was cut from 
Mouse's first episode, 'Shades of Grey,' and 
1 was praying and sweating because there 
was some stiff competition for the role. 1 left 
saying, if 1 didn't nail that, I'm really going 
to be upset.' It was only for one episode, but 
when I read the script, I said, 'This character 
will be back, if it gets in the right hands.' " 

Now that Greenlee has portrayed Mouse 
several times, coping with the way the 
character talks is not a major problem. "It's 
just that I have to really concentrate on the 
words as written. Improvising is just out of 
the question, and it's difficult to get 

Where does Mouse hang out when he's 
not seen on the show (or in photos from 
it)? Well, Greenlee the actor attends SF 
cons, but he would like it if the writers 
explored what his character does on his 
days off. 

meaning through. Once, shooting a scene 
with Vincent and Father, we did it four or 
five times, and they said, 'Print!' and I said 
'WaitV I had just realized what it meant, 
and I didn't think it sounded that way at all. 
But much of it is up to me." 

He has more trouble with Mouse's age. 
"I've played him as an adult, and they say 
he's 16." Greenlee laughs maniacally. 
"There were people who were bald with 
beards reading for this part, so I just played 
him like an adult, but then," he adds with 
an air of teenage hopelessness, "people react 
like he's a kid, so there's nothing I can do 
about that. I would say he's probably 17, 
but Mouse hasn't been counting either." 

Mouse Traps 

A 25 -year-old, self-styled hippie/beat - 
nink/bohemian who reads Allen Ginsberg, 
Jack Kerouac and William Burroughs, and 
whose roots "go back to the pre-Woodstock 
generation," Greenlee was born in Newport 
Beach, California, and trained at South 
Coast Repertory Theater, which was part of 
the original theater movement of the 1960s. 
He attended Orange Coast College, where 
he "dabbled" in theater and treated the 
college "like my playground, which was 
fun," he says, reminiscing. "I was 
very serious growing up, very 
academic. I was good at almost 
everything unless it involved 
numbers, and then I could force 
myself. I was a science whiz for a 
while. Later, I was into words and 
interested in the law, but," 
Greenlee's voice rises eerily 
"not for loongV 

His mad-scientist sort 
of laugh echoes through 
the room. "I spent a lot 
of time on the left 
brain, and then I 
started acting, and 
it all fell apart 
Acting was the 
first thing I 
was good at 
that wasn't 
in a book 
so I 

just couldn't say no." 

Greenlee also couldn't say no to four 
seasons as nerdy Dwight Mendenhall on 
Fame, his "claim to fame," as he redun- 
dantly and deliberately phrases it. "Dwight 
Mendenhall has been probably the most 
rewarding, certainly, in terms of career," he 
says, "but what I had the most fun doing 
was Toby Ross in 'The Toys of Caliban' 
episode of The Twilight Zone. I was a 
retarded psychic who could materialize 
things. That was fun because it was crawling 
around on the floor, slobbering and rolling 
my eyes doing a wonderful script with 
Richard Mulligan." 

Being known for Fame has made 
Greenlee fairly casual about being recogniz- 
ed for Beauty & the Beast. "I've been 
famous for a while now, although most peo- 
ple, when they think famous, think Mick 
Jagger. There's a concept that if you go out, 

MARGARET BAROSKI is a Pennsylvania 
based writer. She profiled Gareth Thomas in 
STARLOG #139. 

you cannot get a moment's rest, and that's 
not how it is. You must be really famous 
before you can't walk to the drugstore." 

Fame fans sometimes unnerve him, he 
notes. "You're walking down the street and 
suddenly 12 teenage kids are circling you; 
you can't move, they're being nice, but 
it's. . . " he trails off, remembering. "People 
from Beauty & the Beast don't seem to be 
that way at all. It's very respectful; it's very 
sweet. The show deserves it — people give 
you the same sort of attitude that people in 
the tunnels give to others. The show hits 
people right in the heart; it goes to the 

Beauty & the Beast apparently has 
Greenlee's heart, and on the subject of Vin- 
cent, he is eloquent. "He's such a beautiful 
character, and for Mouse to be around him 
so much is wonderful. Vincent allows peo- 
ple's stoppers to be opened up, because 
looking the way he looks and being the way 
he is lets people say, 'I could do this.' Mouse 
probably can't write, but he could probably 
build the Hoover Dam, and it's knowing 

"Mouse is what I would be if i was reaiiy 

lucky," admits David Greenlee. 

Vincent that has let that happen, the ex- 
treme amount of work that Vincent has put 
in on Mouse to make him a part of society." 
A sweet smile lights up on Greenlee's impish 
features as he sums up the relationship: 
"Mouse loves Vincent very much." 

Greenlee points out, however, that Mouse 
and Vincent didn't always share such a pro- 
found relationship. "We've found out that 
Mouse has been living in the tunnels since he 
was very small, I would say about six, and 
he was an orphan for years before that, and 
very used to living on his own," Greenlee 
explains. "When he found the tunnels, he 
didn't speak to anybody down there for a 
long time. Nobody even saw him, they just 
saw him dashing around and so they named 
him Mouse. Eventually, Vincent captured 
him— Vincent's a cat so he caught the 
mouse and tamed him. Mouse was kicking 
and screaming, and had to be held and tied. 
Vincent and Father basically raised him, but 
it's Vincent who is his hero." 

The show's writers get top marks from 
Greenlee. "George R.R. Martin — viscerally, 
I sense much of the show in him, and in Ron 
Koslow, the show's creator. They're the 
ones that I get the show's spirit from. I like 
George's writing the best. I worked with his 
writing on The Twilight Zone, and it was 
very good there, too. The 'Fever' episode 
was excellent as well. The writing has a very 
high quality, and it's difficult because of the 
fantasy level and that romance, especially on 
Linda and Ron [Perlman]; it really puts 
demands on their acting skills to do lines like 
'Vincent, I've never been so afraid in my 
life. I could see the whirlpool of 
darkness. . . ' 

"Roy Dotrice has many lines that on 
paper look like honey and syrup and almost 
gothic. I read them and moan, but then I 
don't even notice when they say them, 
because they're very talented actors. It's 
great that they can take something to that 

"That level" is what is called "high con- 
cept," and Greenlee attempts to explain the 
term. "It has to do with not being about a 
family in a house, something where you've 
invented another world. With Fame, I could 
just show up wearing whatever I wanted. 
The show wasn't that different, par- 
ticularly — my character was, because I was 
playing a nerd — but with this, every little 
thing has to be right. I've even started wear- 
ing my crystal on an old piece of leather in- 
stead of on metal because the metal picks up 
[on camera]. You're creating a place and 
time that couldn't be down the street; it has 
to be in space, or tomorrow, or Shangri-La. 
I find Beauty & the Beast very plausible. My 
early training was in Shakespeare, and this 
has really been the first time that my per- 
sonal acting style has fit in. There's a 
romance about Beauty & the Beast, a 
classicality that's bigger than mine, and 
that's what I like about it." 

Greenlee has no qualms about ap- 
proaching the writers on behalf of his 
character. "They're sensitive writers, and 
any sensitive writer is going to listen a little 
bit. If something came along that made me 

very uncomfortable, I would go and talk 
about it, but I can't imagine these particular 
writers and producers harming the character 
in any way. So far, they've been more inven- 
tive than 1 could hope for— and I have been 
thinking about pitching them a script idea or 
two. I've been working on a story with a 
friend of mine, not so much for Mouse, as it 
is for me to write." 

The actor does have his own ideas about 
how Mouse should develop. "I would like 
to see some more things happen with Jamie, 
who has been a little love interest. She's as 
calm and sweet as can be, and when you 
have two leads who haven't kissed. . ." he 
leaves the sentence unfinished, obviously in- 
trigued and amused by the thought. 

"I would like that. And I would like to 
see Mouse start dealing with his respon- 
sibilities within the community, because 
there's a firm social structure down there; 
there are things that must be done, and peo- 
ple's talents as they're needed need to be 
used. When you need somebody thrown 
across a room, it's good to have Vincent, 
and when you need a tunnel dug, or if 
there's a mechanical emergency, Mouse is 
very necessary. But never having had a real 
up-top life, he doesn't have much 
understanding of that. He understands 
when it's life or death, but when Father's 
saying, 'Six months from now, there's going 
to be this, and therefore we need to do that,' 
it's really hard for Mouse to get responsible 
and project into the future and actually be a 
part of the community." 

Pondering for a moment, he adds, 
"There are two women who take care of the 
children; 1 would like to see some of that. I 
would like to see where Mouse has been, 
and maybe even a friend, somebody close to 
Mouse's age." 

Mouse Tales 

A bona fide science-fiction and fantasy 
fan, Greenlee says he's also a first genera- 
tion Star Trek fan. "I've been a Trekkie 
since Trekkies were born," he boasts. "I 
met Leonard Nimoy, DeForest Kelley and 
William Shatner at my cousin's wedding 
when she married one of the cameramen 
from the original Star Trek in the first 
season. They were the first professional ac- 
tors I ever met, or saw. I was 
small — Nimoy's kneecaps were at eye 

He reads science-fiction short stories, 
watches science-fiction television, loves 
movies like Willow and admires Arthur C. 
Clarke, "one of the most brilliant minds on 
the planet," whom he once met on the set of 
Fame when 2010 was being shot next door. 
"I've always read and watched science fic- 
tion. It's creating science, and for me, art 
and technology are real close. When either 
of them are really good, they come really 
close together. Magic, they all look like 
magic whenever they do." 

He watches the magic of Beauty & the 
Beast with friends and his black cat, 
Solstice, in his home in downtown 
Hollywood, an apartment building which he 
describes as "crawling with actors of all 

The actor's own youthful looks have led to confusion about Mouse's age, but 
Greenlee maintains he's playing the character as an adult. 

sorts, artists and writers, the perfect com- 
bination of dorm life and big-cityness." He 
tries to decide if Mouse fits into the show, 
worrying that the noisy, yelling character is 
disrupting to the tone set by the other ac- 
tors, for whom he has nothing but the 
highest praise. "Everyone in the cast is so 
extraordinarily talented. With Linda, it's 
really nice because I've known her before, 
so she's like a pal. I had a lot to do with Lin- 
da in the first episode I did, and I took some 
risks I probably wouldn't have if I hadn't 
known her. She's one of the most beautiful 
women in television and movies with or 
without makeup. Ron Perlman is just top- 
flight. Roy Dotrice is state-of-the-art. He's a 
sweetheart-and-a-half. Anybody that 
talented, who will work so hard on a crutch, 
with a broken hip, he's my hero," Greenlee 
confides, revealing, "I keep stepping on 
Roy's feet! It's awful — I hope I can stop!" 
His visibility as Mouse has led to other 
TV work. "I got a lot of work when I 
started Beauty & the Beast. As a matter of 
fact, it caused some conflicts, so I had to 
juggle and didn't get to do one of the Beauty 
episodes because of another commitment. I 
did 21 Jump Street, Mr. Belvedere and It's 
Gary Shandling's Show, which is more fun 

than a barrel of monkeys. But, hey! I have 
the best season of my life ahead of me!" 

Beauty & the Beast is fun, says Greenlee, 
"even though it's dirty, filthy work. I come 
home dirtier than my father, who built 
houses for a living. I take two-hour showers 
sometimes, because I'm the dirtiest on the 
show. When there are three people paid to 
throw dirt at you all day, there's not much 
you can do but get dirty." 

He laughs as he insists that "we never 
make any mistakes," but he will admit to 
one bit of humor during filming. "Roy 
Dotrice has a habit of calling my character 
'Moose' about one in 10 times, and that has 
created many good outtakes. Nothing really 
silly has happened, which is extraordinary, 
considering the ridiculous things we're do- 
ing." The reason for that, he says, is that 
"there's a really good camaraderie, a great 
deal of seriousness. Beauty & the Beast re- 
quires commitment and concentration." 

Then, David Greenlee grins. "Every day 
is incredibly strange there. Anytime you 
walk in and see someone with Vincent's 
face, wearing Ron's clothes, leaning back in 
a chair and talking to his agent on the 
phone, you rub your eyes and say, 'What 
was in the punch?!' " ^ 

STARLOGAWarc/? 1989 51 

i Nigel Kneale 

t The Quatermass 




Britain's greatest living SF screenwriter 

remembers his nights with alien invaders, 

demonic insects and Moon Men. 

V ! 

Five Million Years to Earth (a.k.a. 

Quatermass and the Pit), in which 

Quatermass (Andrew Keir) and Roney 

(James Donald) discover an alien 

spaceship in London's underground, is 

creator Nigel Kneale's (inset) favorite 


In the last installment, British television 
writer Nigel Kneale, considered by many 
to be the finest writer of science fiction 
written directly for television, talked about 
his earliest days in TV, about how he came 
to write the famous The Quatermass Experi- 
ment and his classic version of George 
Orwell's 1984. 

Kneale believes that all three of the 
movies based on his Quatermass tele- 
plays — The Creeping Unknown, Enemy 
from Space and Five Million Years to 
Earth — are diluted versions of his original 
stories. Yet these are so highly regarded 
among American SF enthusiasts that to con- 
sider the possibility of the originals being 
better is truly mind-boggling. 

STARLOG: In Quatermass 2, the aliens 
have infiltrated the government. Was that 
idea intended as commentary on the whole 
communist-witch hunt period? 
NIGEL KNEALE: No, I'll tell you what it 
was. At that time, in England certainly, we 
were getting many mysterious projects. 
They were putting up those big golfball 
radar domes or something like that on the 
coast of Scotland for the Distant Early 
Warning system, and other projects, some 
of which were totally non-military— but 
nobody knew what they were. There was a 
great tendency in England for secrecy on 
government projects at that time, and prob- 
ably still. English government secrets are be- 
ing waved about all over, of course, at the 
moment, but in the '50s, there was a feeling, 
somehow a hangover from the war when 
{there had been much very necessary secrecy, 
Ithat there was now much unnecessary 
secrecy, but it had somehow dribbled on. 
They got in the habit of being secret, and in 
the '50s, people were getting tired of 
it— high time to have it stopped. 
STARLOG: There are some fine scenes in 
Quatermass 2 where the workers are angry 
at the suggestion that they should have ques- 
tioned the secrecy. They had been working 
on the plant while unknowingly helping an 
alien invasion. That seems to be a sweet 
commentary on the common man allowing 
the government to do what it will with them. 
KNEALE: It's true. You see, they got their 
wages regularly; they were paid well every 
week for working on a special project. I 
think that's still true today— they don't 
notice because they don't want to notice 
anything wrong — it doesn't concern them. 
"I'm all right, Jack." 

STARLOG: I understand that you were 
even less happy with Brian Donlevy's per- 
| formance as Quatermasss in the film version 
i of Quatermass 2, Enemy From Space! 
j> KNEALE: Yes, time had rolled on and so 
i had many other things, and flowed, too. 
| Donlevy was less interested and less apt, and 
I probably didn't really want to do it. I think 
1 he was horrified when he saw the script and 
i . 

! BILL WARREN, veteran STARLOG cor- 
i respondent, is the author of Keep Watch- 
: ing the Skies Vols. 1 & 2 (McFarland, 
j $39.95 each). His interview with Nigel 
| Kneale began in STARLOG #139. 

realized how much running about he had to 
do, because he had become a bit portly and 
he didn't enjoy it at all. He was clearly 
bored by the semi-scientific bits that he 
didn't want to bother himself to understand. 
STARLOG: I have a copy of the film's 
shooting script. Several scenes that you in- 
cluded were taken out by the director, such 
as the family down by the beach. 
KNEALE: That's right; those were all in the 
TV show, the best bits. 
STARLOG: They were also intended to be 
in the film. Did that cause any bad feelings 
between you and director Val Guest? 
KNEALE: Well, no, we didn't have any 
bad feelings, except that it seemed to get fur- 
ther and further away from the film script 
that I had written, for reasons of economy. 
We didn't have a great buddy relationship, 
if that's what you mean. 
STARLOG: The teleplay's climax takes 
place in space, where Quatermass discovers 
his best friend has been taken over by the 

KNEALE: Yes, I liked that. Think what 
Steven Spielberg could do with that today, 
with the asteroid reaching out its tentacles. 
But what effects we had— again, it was six 
episodes long. By five, they had completely 
run out of money, and the designer said, 
"What can I do? I've got to put a satellite or 
something like it into space." In the insert 
film, of the satellite, it actually turned out 
OK. We had tentacles coming out of the 
craters in the satellite, and drew them back 

In Enemy from Space's cinematic adaptation, the teleplay's ending went earthbound. 

STARLOG/Ma/r/j 1989 53 

into it, then printed the film in reverse. 

But the bit where Quatermass had to 
come walking past with his suitably 
magnetic boots almost didn't work; luckily, 
there was some metallic substance on the 
thing he was walking on, so it stuck him 
down. The ship was, in fact, made of any 
kind of rubbish they could find. That was 
one of the hairiest things I've ever seen. 
They had to dress up Quatermass and his 
second in command — played by Hugh Grif- 
fith, by the way — during a live performance. 

Five Million Years to Earth was the first to 
use a full screenplay by Nigel Kneale. 

They were put into space suits made of solid 
rubber; they did not flex. They weren't very 
expensive, but it was the most the BBC 
could afford. The actors were strapped into 
these things which were tied together in the 
middle with boot laces, because that was the 
only way to hold them together. By now, 
the BBC had actually something like a 
special FX department consisting of two 
men, who were both very good and were 
good friends of mine. They had rockets tak- 
ing off and things like that which worked 
pretty well. At the last moment, in the last 
episode, when these two characters had to 
be trussed up in space suits, the two special 
FX men came on, playing technicians, to 
make sure things hooked together all right, 
so there weren't any major gaps around the 
actors' midriffs. 

That was the way it was. In those days, 
the audience was much more forgiving; they 
knew there would be some rough edges 
because they were watching live material. It 
was rather like a Japanese or Chinese 
drama, where you see the property man car- 
rying things in and putting them on the 
stage; you eliminate him from your think- 
ing. You don't see him. So when things 
went wrong on live television, you 
eliminated them. You couldn't do anything 
like that today; today it would be total 

STARLOG: The climax of the film we in 
America know as Enemy From Space 
doesn't take place in space as it does in the 
teleplay. Instead, it occurs in giant domes. 
When the domes explode and these big rub- 

All Quatermass Conclusion Photos: Copyright Thames Television 

The fourth film in the series, The Quatermass Conclusion, was actually a reworked 
version of the TV footage. 

bery shambling things come out, did that 
disappoint you? 

KNEALE: We had a version of those, too, 
in the BBC play, but it went on a bit longer 
and you finally got to the pair in space. 
STARLOG: Was this the budget again? 
KNEALE: Yes, and the BBC didn't have 
much of a budget, either. With the film, it 
was partly the length. Again, we're shrink- 
ing three solid hours of entertainment into 
one-and-a-half, and many things have to go. 
STARLOG: In that sense, the one that was 
probably adapted the best was Quatermass 
and the Pit because it includes virtually all of 
the teleplay's ideas. 

KNEALE: Yes. That was the first time I was 
allowed to do the screenplay by myself, with 
nobody else getting credit, so it was all my 
own work. 

STARLOG: Of the films, is that the one 
you like the best? 

KNEALE: I think it is, yes. It was also the 
one on which Hammer spent the most 
money, and it didn't have Mr. Donlevy, so 
it had all sorts of virtues. It was in color. 
STARLOG: It had the beautiful Barbara 
Shelley, too. 

KNEALE: The lady who had hard times in 
many films. 

STARLOG: And James Donald, who plays 
Roney, the man who sacrifices himself. 
KNEALE: He's a very good actor. 
STARLOG: The very last shot of James 
Donald as he comes toward the camera, 
towards Hob, tells worlds. It's one of the 
finest moments in a Hammer film. 
KNEALE: He's very good. In the television 
version, we had a very good Canadian actor 
named Cec Linder, a very nice man. We had 
more pattern-making there. Quatermass was 
the man in the middle in that story, and on 
the wrong side was the unpopular and 
fascistic Colonel Breen, a very rigid 
creature. On the other side was a very nice, 
much more evolved person in humanitarian 
terms, Roney, and that was Cec Linder, 
who's a very warm actor and gave an ex- 
tremely attractive performance. He sacrific- 
ed himself at the end in a different way; he 
wasn't up in a crane, he had a long piece of 
chain which he hurled up into Hob — he 
hurled very well, by the way. There is very 
little to choose between the two lots of ac- 
tors there, in the TV version and the film. 
STARLOG: I also like the man who played 
Breen very much. 

KNEALE: Julian Glover [STARLOG #52]. 
He lives right here in Barnes. A very good 
actor. Also in it was Tony Bushell, who 
played in many of Laurence Olivier's 
Shakespearean films. 

STARLOG: Why were there different 
Quatermasses in each TV production? 
KNEALE: Well, Reginald Tate, the original 
actor, died just as we were about to do the 
second one, which was very shocking. He 
had simply taken on such a workload that it 
killed him. He was in virtually every BBC 
production; just as people will, he overload- 
ed himself and died quite suddenly of a 
heart attack. So on short notice, John 
Robinson valiantly stepped into the breach. 
On the third, we had more time to think, 

54 STARLOG/Marc/j 1989 

and cast Andre Morell. 
STARLOG: It's surprising that Morell 
didn't play Quatermass in the film, because 
he had done quite a few Hammer films, in- 
cluding playing Dr. Watson to Peter 
Cushing's Sherlock Holmes in Hound of the 

KNEALE: I presume he wasn't in the film 
because he simply wasn't available. 
STARLOG: Andrew Keir was an interesting 
choice. The Americans who like Brian 
Donlevy as Quatermass like his brusque 
directness, and Keir has some of that. That's 
what Americans were expecting. 
KNEALE: Andre Morell played Quater- 
mass as a club man, a very sophisticated 
English character, which worked extremely 
well because of the contrast with the other 
two. He was the recognizable, decent chap; 
he didn't have to be very aggressive, he had 
to be likable and a bit ordinary, and highly 
moral because this whole thing was started 
by his strong objection to having his outfit 
taken over by the military. 
STARLOG: Among your videotapes here, 
it's particularly interesting to see 2001: A 
Space Odyssey in your collection because 
that and Five Million Years to Earth, the 
film version of Quatermass and the Pit, 
opened in the same year. Some of the same 
ideas were behind both films. 
KNEALE: That's true. I may say it came as 
a small shock to me when they went down 
into an excavation [in 2001], which I had not 
very long left, and found a large, upstanding 
thing like shiny plastic. This scene was 
almost an exact replica of a scene in Quater- 
mass and the Pit, the original BBC TV ver- 
sion, which had a deep excavation (shot at 
the old Ealing Studios) about 30 feet deep. 
Characters walked down a ramp and out on 
the muddy floor. They encountered a huge 
space artifact. What echoes. Not deliberate, 
of course, but interesting. 

Upon seeing 2001, Kneale was surprised as to how much that film's Moon excavation 
scene mirrored his own Quatermass and the Pit. 

STARLOG: In America, many fans- view 
2001 and Quatermass and the Pit as 
bookends of the same idea. 2001 was the 
cold, intellectual view of the same idea that 
is warm and friendly and fireside in your 
film. Yours is the pub version, and theirs is 
the observatory version. 
KNEALE: My working material is really 
character actors, and my stories were earth- 
bound stories that had a kind of space 
dimension, but for purely budget reasons, 
they had to be a really limited space dimen- 
sion. The budget provides a restriction; it 
makes it a challenge, as they say, and you 
work around that and use the material that 
you've been given, and make the most of it. 
STARLOG: Can you trace the evolution of 

All Five Million Years to Earth Photos: Copyright 1968 Hammer Films 

your ideas in Quatermass and the Pit! It's 
such an astonishing thing; you explain all of 
humanity in 90 minutes. 
KNEALE: I couldn't guess now, in thinking 
that far back, a long time ago, what par- 
ticular thing started it. I think it was very 
simple, really. I was talking to Rudy Cartier 
[producer/director of previous Kneale TV 
plays] and said, "Well, suppose you dug a 
hole and found a spacecraft." He said, 
"That's good, let's do it." 
STARLOG: Then you had to come up with 
what was inside the spacecraft. 
KNEALE: Exactly. And then justify it. You 
go from there. You work in London history 
because London was very good for that, 
particularly at that time, because they were 
still rebuilding all the bombed areas in the 
City of London. In fact, I think they opened 
with a bit of film sequence shot down in 
Cheapside, which will now be covered with 
some very high blocks of offices. I set it in 
Knightsbridge because it was being rebuilt at 
a great speed, and again had great holes and 
people digging down and down and down, a 
hundred feet. You would see people peering 
through boards around them, holding the 
spectators back. 

STARLOG: And they found unexploded 
bombs frequently? 

KNEALE: Yes, they did. Still do; there was 
one only a few weeks ago. The place is prob- 
ably full of them. They all fell, and some of 
them didn't go bang, and so they're still 
down there. 

STARLOG: None of them are full of Mar- 
tian grasshoppers, are they? 
KNEALE: Not so far. 
STARLOG: Unlike the previous three 
outings, The Quatermass Conclusion 
feature film with John Mills as Quatermass 
was derived from exactly the same footage 
shot for the TV show. I understand you 

Roney (James Donald) makes his 
memorable last stand against Hob. 

STARLOG/Ma/rA 1989 55 


After The Quatermass Conclusion, admits Kneale, the doctor is "good and dead." 

designed the script so they could "cut on the 
dotted lines," as it were, and extract a tidy 
feature from the longer TV version. 
KNEALE: The intention was as you 
describe but it didn't really work because the 
story wasn't written at its natural, proper 
length. One version was too slow and the 
other, too fast. The serial version came off 
best, I think. But overall, the production 
lacked real menace and tension, and there 
was some miscasting. I don't mean John 
Mills, who had sincere and justified worries 
about the way the thing was going, and 
fought hard to lend strength to it. 

I can accept responsibility for the basic 
concept — some power we never see sucking 
human gatherings off the Earth for a prob- 
ably trivial purpose, like present-day use of 
animals to test cosmetics — being a bit 
unoriginal, but there was a lot of dramatic 
development in the screenplay. The resulting 
production was curiously unexciting. One 
example: the young people who swarm 
everywhere, calling themselves Planet Peo- 
ple, were clearly scripted as deranged and 
dangerous dervishes. They came out as dim, 
wimpish flower-children. 
STARLOG: The evocation of a near, 
troubled future was satisfying. , 
KNEALE: The sets were excellent and ex- 
pensive, but that wasn't enough. The show 
didn't measure up at all against the original 
of the 1950s. There never were any other 
Quatermass ideas contemplated, and no 
more are planned. He's good and dead. 
STARLOG: What about The Devil's Own, 
one of the last gasps of Hammer? 
KNEALE: This was shown as The Witches 
here and was based on a novel by a lady, yes 
lady, called Peter Curtis. .1 worked on it with 
old pal Tony Hinds, though the final pro- 
ducer was Anthony Nelson Keys. It took 
quite a lot of rethinking, I remember. The 

book's big scene was when somebody filmed 
a witchcraft ritual in a dark church with an 
8mm camera, optimism over experience. It 
wasn't a bad movie and had some very good 
acting in it. It only died at the end when the 
witches turned out laughable. But then, wit- 
ches probably would. 

STARLOG: Was it your fame from the TV 
productions that led you to writing such 
features as Look Back in Anger and The 

KNEALE: Well, I remember doing a little 
adaptation of an Anton Chekhov story for 
Tony Richardson, who had directed a ver- 
sion of John Osborne's Look Back in Anger 
on the stage. At that time, I was believed to 
be craftier at television technique than some, 
and he thought that, well, film isn't that dif- 
ferent from television, so let's have a go. As 
we had worked together happily, let's work 
together again. And so we did Look Back in 
Anger, based on the play. We decided to 
break it up and take it outside, and it lost 
some of the play's claustrophobic feel, but 
I'm not sure we could have simply filmed 
that play straight. It needed opening out. 
STARLOG: Was The Entertainer, based on 
another Osborne play, a closer adaptation? 
KNEALE: Again, the same thing happened. 
Harry Saltzman had produced Look Back 
in Anger, so when we made that, Harry 
came again and said, "I want to do The 
Entertainer. Will you do the script?" I was 
in the unfortunate position of not having 
seen the play. Of course, Laurence Olivier 
had had a great success, and knew all the 
places where he got a laugh, so it was very 
difficult to write a screenplay just for its own 
sake. He said, "I got a laugh on that line, so 
leave it in," and the film became, I'm 
afraid, terribly indulgent, on the part of the 
director, Tony. It was grotesquely long, two 
and three-quarter hours, which could not be 

justified, so it was cut. Then, it got a curious 
kind of hopping rhythm. It still contains 
Olivier's excellent performance. 

It may have been his best stage perfor- 
mance, but it was a bad film, as a film, 
simply because there were so many distrac- 
tions. Vivien Leigh was falling to pieces, go- 
ing gently mad; she was acting at a local 
theater, being directed by Tony Richardson, 
who was directing this film. He was worn 
out trying to deal with Vivien. 
STARLOG: And, of course, he was also 
directing her former husband, Olivier. 
KNEALE: Exactly. It was terribly taut. I 
had written a screenplay for this genius ac- 
tor, but I had not seen this genius actor in 
this part. It couldn't have been worse. If 
Saltzman hadn't pressed for it, I probably 
wouldn't have done it. I don't know what 
they should have done; maybe they 
shouldn't have made the film at all. 
STARLOG: How did you come to write 
First Men in the Moon! 
KNEALE: I have no idea how it originated. 
But they were about to do it, and wanted 
somebody to write the script. It wasn't that 
long since the last of the Quatermass things 
on television, so I suppose they thought, 
"Well, it's science fiction, get Kneale." 
STARLOG: How did your screenplay differ 
from the finished film? It's known that Jan 
Read added the woman to the script after 
you had finished. Yours was closer to the 
book perhaps? 

KNEALE: Yes, it was. The Moon stuff was 
more or less the same. They wanted to jazz 
it up, make it funnier than I had imagined. 
Really, I thought it was a good story as it 
was, but they wanted it funnier, so they had 
a comedian, Lionel Jeffries, play a lead 
part. He's fine as a comedy performer, a 
lovely actor, but it wasn't the way I had seen 
(continued on page 62) 

56 STARLOG/ March 1989 


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The Guests of 


While Oliver Crawford has written for 
numerous episodic television series, it 
is his forays into the world of science fiction 
that he has found most intriguing. That's 
because science fiction has allowed him to 
deal with issues usually considered taboo. 

"It's not that I'm particularly a fan of the 
genre," he observes. "I never approach that 
kind of show from a science-fiction point- 
of-view. Everything that I've written — and I 
know this sounds both profound and corny 
at the same time — has come from the belief 
that the essence of a writer is to bring some 
illumination to the human condition. You 
try to make a statement about a universal 
truth, and it's the situation that counts. You 
can make it a Western, if it takes place a 
hundred years ago, or science fiction, if it 
takes place 500 years from now. The point is 
that the people in the story remain the same. 
At the same time, you must cater to what 
television is, so through the years, I've 
managed to blend the two." 

Crawford admits that he is something of a 
survivor in Hollywood, having successfully 
rebounded from the days of McCarthyism 
and blacklisting of the 1950s. 

"Two hundred writers were blacklisted 
from 1953 to 1957," Crawford explains. 
"Of them, only 10 percent were able to 

58 STARLOG/March 1989 

He may not be a science-fiction fan, but 
Oliver Crawford confesses that "Star Trek 
did make an impact" on him. 

recover their careers, and I was always 
grateful to be among them. People have 
often said, 'How could the blacklist hap- 
pen?', but it's amazing what can happen: 
what form intolerance can take, as well as 
intimidation. I like to think that any situa- 
tion you're involved with during the course 
of your life equips you to become a better 
person and, in my case, a better writer." 

One such example is evident in 
Crawford's sole effort for The Outer Limits, 
titled "The Special One." 

"After Russia launched Sputnik [and put 
| men into space], John F. Kennedy said that 
2 America would have someone on the Moon 
s in 10 years," he explains. "The government 
= went around to all the schools in the country 
=? to try to pick the best and brightest for the 
1 space program. My son had been chosen out 
o of his class, and was subject to special 
| classes and all of that. I was very apprehen- 
£ sive because I didn't want Big Brother loom- 
ing, but they said that they would study him 
as he got older to see how he shaped up. I 
was particularly proud that he had the kind 
of I.Q. that made him stand out. 

"Ultimately, he dropped out of the pro- 
gram and never got into the final college 
phase, but in the meantime, I thought, 
'Jesus, what if I took that situation, and in- 
stead of it being the United States Govern- 
ment looking for astronauts for the space 
program,' which was then in its infancy, 'it's 
somebody from another planet using the 
same method to train new leaders to take 
over the world for them. So, that's what I 
wrote, and it was a very personal story. I'm 
very proud of that piece of writing." 

While he also scripted episodes for such 
Irwin Allen series as Voyage to the Bottom 
of the Sea and Land of the Giants, they 
don't stir the same kind of memories. 

"It's difficult now at this phase of my 
life," admits the 70-year-old Crawford, "to 
remember how I wrote so much material. I 
do remember that my kids used to wonder 
what the heck I was doing all that time, but 
when they started catching shows in reruns, 
they and their friends were suddenly im- 
pressed. The stories that I enjoy reading and 
writing deal with what's happening now. 
How can we best reflect it? Of course, with 
censorship and the fact that everything a TV 

Having Lokai's (Lou Antonio) colors 
reversed on his arch-enemy "was a 
marvelous cinematic effect," says Crawford. 

writer wrote was an appendage to a sales 
message, you had to find a common ground 
that wouldn't alienate sponsors, and still 
find a way of telling your stories. I tried to 
stay away from gimmickry, and I think my 
scripts for Star Trek fell into that line." 

Crawford wrote a total of three scripts for 
Star Trek, working with both Gene Rod- 
denberry and Fred Freiberger. His initial ef- 
fort was "The Galileo Seven," rewritten by 
Shimon Wincelberg, in which an Enterprise 
shuttlecraft crashes on an alien world, and 
the crew is forced to struggle for survival in 
a hostile environment. 

"I did the story and teleplay for that 
one," the writer details, "and then, as often 
happens, someone else was called in. They 
probably felt that I had run dry on the idea 
and came as far as I could, and they got 
Shimon to do a polish, just as I had done for 
other Star Treks and other shows. 

"Most of my approach as a writer had 
been to look to old movies and say, 'Gee, 
this would make a good Star Trek, or a 
good Western, or a good detective story.' 
The foundation for 'The Galileo Seven' was 
actually an old [1939] motion picture called 
Five Came Back. That was about a plane 
crash in the Andes, and the survivors who 
have to deal with head-hunters over the next 
hill. I remembered it because it was such a 
dramatic gimmick, a very tight one. 

"This is a way that you grab the produ- 
cer's interest," he notes. "If it was a Wes- 
tern, when Westerns were popular, you 
would say, 'I can put The Maltese Falcon in- 
to a Western setting.' That's immediately in- 
triguing. They say, 'You can't. How does it 

An old movie, not a mysterious quasar, 
was the real reason "The Galileo Seven" 
had to fight for their lives on Tarsus II. 

fit into our format? You say, 'This old pros- 
pector finds some icon from a past civiliza- 
tion, now you send the forces in.' Because 
it's a remake of The Maltese Falcon, the 
producer wants to make it work. It's a 
springboard to get you in there and com- 
mand their attention. I suppose it's like 
reading a book. If you aren't grabbed by the 
first 10 pages, sometimes you put the book 

Next up was the third season episode 
"Let That Be Your Last Battlefield," in 
which two survivors of a racially motivated 
alien war battle to the death aboard the 
Enterprise. The source of their hatred for 
each other is that one is white on the left side 
of his face and black on the other, while his 
counterpart's colors are reversed. 

"That was originally a Gene Coon story 
that was brought to me," Crawford relates. 
"It dealt with racial intolerance, and I 
thought it was a marvelous visual and 

Spock's (Leonard Nimoy) meeting with Droxine (Diana Ewing) and "The Cloud 
Minders" went through three different writers before reaching the screen. 
"Television," Crawford notes, "is a collaborative medium." 

cinematic effect. The whole point of the 
story was that color is only skin deep. How 
could any writer not respond to that? That 
fit right into today's scene, and I was very 
pleased with the episode." 

"The Cloud Minders," which Crawford 
rewrote, is perhaps the source of more con- 
troversy than any other script written for the 
series. In a situation well documented in the 
pages of STARLOG (see issues #39-40), 
David Gerrold wrote the first draft teleplay, 
which third season producer Fred Freiberger 
didn't like. The script was handed to 
Crawford, who also turned in a draft which 
proved unsatisfactory to Freiberger. From 
there, Margaret Armen (STARLOG #125) 
did the final aired version. 

"David Gerrold was a young writer, and 
his script kind of wandered all over," says 
Crawford. "I recall Freddy calling me up 
and saying, T want to put an old pro 
together with a young writer.' Writers are 
constantly wounded, but television is very 
much a collaborative medium. To get the 
happy circumstance where everything gels 
and everybody's talent enhances everybody 

According to Crawford, the ancient riddle 
of racial intolerance posed by Bele (Frank 
Gorshin) still "fits Into today's scene." 

else's is tough to achieve, but worth it when 
you do. When people go off on tangents, 
you find that you don't have much of 
anything. I know very few writers who are 
happy with all of their work as produced, 
unless they're in a position of power and not 
too many of us are. 

"I did think that 'The Cloud Minders' 
was right in line with the good work and 
thrust of the series," Crawford elaborates. 
"It was almost like a Brave New World, The 
key thing there was exploitation, and that's 
something we must deal with all the time." 

While oblivious to the shift in the series' 
focus between the second and third seasons, 
Oliver Crawford believes that Star Trek's 
death on NBC was due to a tragic oversight 
on the network's part. 

"I think that Star Trek did make an im- 
pact originally," he concludes, "it's just 
that NBC underestimated their audience 
and lived and died by the ratings system. 
The kids who ultimately became the Trek 
fans didn't control the sets. Their parents 
did. The generation that grew up on it did so 
when the series was in syndication, and 
that's what ultimately saved it. It had basic 
human story values. Star Trek was a series 
that tried to say something to the audience." 
— Edward Gross 

STARLOG/March 1989 59 

Realizing they were "dealing with morons," 
Spock (Nimoy) is forced to try a somewhat 
stronger argument on Bela Oxmyx 
(Anthony Caruso). 



For only "A Piece of the Action," how can Spock (Nimoy) and Kirk (William Shatner) 
go wrong letting this kid (Sheldon Collins) help them bust into Krako's joint? 




One of Starfleet Command's most strin- 
gent rules is the Prime Directive, which 
forbids its members from interfering with 
the natural development of alien worlds. 
Despite this edict, there have occasionally 
been Starfleet officers who have "influenc- 
ed" new societies, altering their way of life 
forever. The results are usually disastrous, 
though sometimes hilarious. 

In the Star Trek episode "A Piece of the 
Action," the Enterprise is sent to Sigma 
Iotia II to study the nature of the 
sociological contamination left behind a 
hundred years earlier by the starship 
Horizon. What they find is a planet model- 
ed after Roaring Twenties Chicago. 
Writer/director James Komack, who co- 
starred with Bill Bixby in The Courtship of 
Eddie 's Father and is preparing a Welcome 
Back, Kotter TV reunion, recalls "A Piece 
of the Action" affectionately. 

"In those days, I was a journeyman direc- 
tor in television," he says, "having done 77 
Sunset Strip, Dr. Kildare, Hennesey, The 
Dick Van Dyke Show and so on. Gene Rod- 
denberry wanted to do a comedy episode 
and I was a natural contender because I had 
done long form and was a comedy director. 
I had really enjoyed the show, read the 
script, made some adjustments and said, 'I 
would love to do this,' and I found myself 
on the starship Enterprise. 

60 STARLOG/Ma/rA 1989 

"Usually," Komack notes, "when you're 
a director working on episodic television, 
the actors mostly know their parts, who they 
are and what they do, and all you're doing is 
trying to find new ways for them to move 
around. The acting was already locked in 
because they had done it. This was fun 
because it was a comedy, and Bill Shatner 
loves to do comedy." 

One problem the director did not have to 
deal with was the cast's refusing to do cer- 
tain things because they weren't right for 
their roles. 

"Usually, that comes about after they've 
formulated their characters," he explains. 
"When you come on a show, they say, 'I've 
been doing this show for three years. I 
would never say that.' You can't argue with 
the guy. In this episode, though, I could say, 
'Hold it. You're down in the 20th century, 
pal. You're dealing with morons. You've 
never done that before, so therefore you 
could say this.' And they would buy it. But 
not in the spaceship. In the spaceship, they 
had it down, and it was so goddamned 
technical. We were talking about the 
ramifications of the polarization of some 
kind of thing in the atmosphere. I didn't 
know what they were talking about, but 
they did. They've got it all figured out. 

"Something that was fun for me," 
elaborates Komack, "was having Spock and 
Kirk come down with this great intellect and 
intelligence that they possess, and having 
them deal with monkeys. These guys had an 
I.Q. of about room temperature. It was fun- 
ny to convince the actor to play that, and 
then watch Kirk and Spock stare at them 
because they were just so ludicrous. That 
was great fun." 

Trying to maintain Star Trek's future 
reality while combining it with the Chicago 
of the past was more complex, however. 

"That was tough," he concurs, 
"remembering that these guys were from 
another time while we're trying to make a 
picture about the '20s. You constantly have 
to say that it has to be the '20s from 
everyone else's point-of-view, and 'future 
time' for Leonard Nimoy and William 
Shatner, and that did get a little bizarre. The 
joke going around them was that they had 
never seen a machine-gun fire before, they 
had never seen pool tables or cars. We 
would have to work out the jokes right then 
and there. You would have to say, 'Wait a 
minute. You've never seen that before. I've 
got to shoot something showing that.' " 

Like most good comedy, a great deal of 
"A Piece of the Action" was improvised, 
particularly the Fizzbin card game played by 
Captain Kirk and a group of dim-witted 

"They just sat down and did it," Komack 
laughs. "Shatner really thought of this idea, 
and I embellished it. Since I was a writer, it 
was very easy to add the corrective to get us 
onto the next beat." 

Still, the shooting moved a bit slower than 
Komack had expected, due to some of the 
episode's physical action. 

"The gangster scenes in the room were all 

On a planet where anyone could "hit" 
anybody anywhere, the Federation's boys 
(Deforest Kelley, Shatner, Nimoy) found 
even they weren't untouchable. 

fine," he explains. "The exterior stuff with 
the cars going by, bullets going off and them 
hitting the ground, and making some kind 
of reality out of a backlot, was a little more 
difficult. I had done action before where the 
company was more oriented to do that kind 
of work, but Star Trek wasn't really 
prepared for it. They weren't used to it, and 
so it was a little slower for me." 

While proud of the fact that the episode is 
so highly regarded by fans, Komack points 
out that he isn't as fond of his old directorial 

"I've progressed so much since then and 
so has the business," he admits sheepishly. 
"I look back at much of my work and think 
that it's not that good, that I could have 
done much better. As a writer, though, I 
sometimes find scripts of mine that really 
hold up. The material transcends the time. 
But as a director, I find myself constantly 
progressing in terms of fluidity both in the 
camera and in the design of shots. Not with 
the actors, because I'm pretty good with 
them, having been an actor myself. I'm 
fascinated with directing and photography, 
and I just look at some of the shots and find 
them to be so pedestrian. I did one shot over 
the pool table [in "A Piece of the Action"] 
and it was such a big deal to me; I had never 
seen anyone shoot down on a pool table. 
Today, everyone does it." 

Conversely, he believes that the Star Trek 
phenomenon itself is something that has 
also improved with age. 

really enjoyed Star Trek," says James 
Komack. "It's a classic form of fantasy." 

"It's a classic form of fantasy, of illusion 
that you can only create on film," James 
Komack enthuses. "You can take yourself 
out of your current time and enjoy a 
mythical place, a mythical time and believe 
that life is beautiful. Because they were 
beautiful. They had enemies like we have 
enemies, but they had different ways of 
dealing with them. Goodness and the truth 
always prevailed. Star Trek has survived for 
the same reason that Snow White and the 
Seven Dwarfs and Christmas stories have 
survived for all these years. It's a wonderful 

— Edward Gross 

STARLOG/March 1989 61 

"Simply the finest film 
yet produced profiling 
any fantasy filmmaker." 
— David McDonnell, 
Before Steven Spielberg and George Lucas, 
George Pal created film worlds of wonder 
and fantasy where none had existed before. 
His career earned him eight Academy 

Now comes an unforgettable video tribute to 
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(continued from page 28) 

Twenties, a Prohibition-era adventure 
series, ran on ABC-TV from 1960 to 1962. 
(He turned down the lead in Maverick, the 
show that established James Garner.) 

After The Roaring Twenties wrapped up, 
Rex Reason, the man who once told an in- 
terviewer that "if I couldn't act, I wouldn't 
know what to do with my life," suddenly 
turned his back on the profession. Reason 
explains his unexpected move: "At age 22, I 
landed the lead in Storm Over Tibet, and I 
was suddenly considered a leading man in 
Hollywood — to some people, a star. To me, 
I was just a working actor, but the 
Hollywood life is demanding and very 
magical. In those 10 years I spent as an ac- 
tor, I didn't have a chance to grow up — to 
experience the normal processes of getting 
out, finding a job, working, dealing with 
people and so on. That was all held in 
abeyance. If you're a leading man in 
Hollywood, that's all kept away from you. 
Whether people like you or not, they bow. 
In a few of my friends who I went to school 
with, who I would see from time to time 
during my acting career, I could see a 
growth, something happening within them 
that wasn't happening within me. I didn't 
like not knowing or experiencing that 
growth. So, that was part of the reason that 
I left and started really soul-searching. It 
was very difficult for me to leave, and to try 
and find another profession. Three years it 
took me before I became receptive." 

His search for a new direction in life was 
complicated by the fact that many people 
still tended to look up to him as an actor and 
to associate him with the roles he had played 
in television. "At any time, if I ever got frus- 
trated, I could easily just turn around and 
say, 'The heck with it' and move back into 
acting. But I couldn't let myself do that." 

Although his acting days are now per- 
manently behind him, Reason recently has 
been talking to agents about the possibility 
of getting back into the business and doing 
some voiceover work. He made his last film 
in 1959, but occasionally, he'll pop up in a 
movie like The Incredible Shrinking Woman 
or E.T. — The Extra-Terrestrial — in clips 
from. This Island Earth. (Reason went to see 
E. T. because he had heard that he was in 
there somewhere, and missed the scene while 
buying popcorn.) 

Clearly, This Island Earth has become 
and will remain the film for which the actor 
will always be best-known, and Rex Reason 
has no qualms about the permanent link. 
"Well, you're here today!" he laughs. "I've 
done several interviews on the subject of 
This Island Earth and I still get fan mail, 
believe it or not, from people who also men- 
tion This Island Earth constantly. I do ap- 
preciate the picture and what it's done for 
me. This Island Earth has done a lot for me 
as far as giving me a little notoriety, keeping 
me alive in the minds of fans and giving me 
a feeling that my work in films had a little 
worth." ■& 


(continued from page 56) 

it — nor, I think, quite the same way as had 
H.G. Wells. His Cavor, in the novel, was 
also funny, but a different kind of comedy. 
STARLOG: One of the most interesting 
things about the movie is that the character 
played by Edward Judd isn't entirely sym- 
pathetic, nor is he in the book. I asked Ray 
Harryhausen if that was due to you, and he 
said, "Absolutely." You set it up. 
KNEALE: In the book, he was a blundering 
creature and it seemed important to keep 
that. My main contribution was in talking to 
[longtime Harryhausen producer] Charlie 
Schneer; I pointed out that President Ken- 
nedy had said, "We will be on the Moon" 
by a given date. "You've got a very narrow 
window there to get your film out before 
they're really on the Moon. They're going to 
find that there won't be any Selenites. How 
do we account for that? The book says it's 
full of Selenites, so we've got to blow them 
all away." And I added, "Supposing they 
were sneezed on? All it has to be is that our 
professor has a very bad cold, and they 
haven't been acquainted with the particular 
bacteria or virus he sneezes, and it wipes 
them out to the last Selenite." So that clears 
it up; you would find big holes where the 
Selenite city used to be, but it's all gone. 
Now, I am not claiming that as a great 
original idea, because Wells himself had 
used it in War of the Worlds. 
STARLOG: Were you satisfied with the 
film version? 

KNEALE: It was all right. It could have 
been better if it had been a bit less farcical; 
that would have been more imaginative. The 
saddest thing in any kind of fantasy film is if 
it drops from a sense of wonder, if you like, 
to a kind of comedy, knockabout, tongue- 
in-cheek thing, which too often they do. It's 
much harder to make something wonderful, 
and very often impossible; you get people 
going around in rubber suits looking impor- 
tant and pointing. That's when they say, 
"Argh, that's a mistake. We should have 
just hammed it up." It's easier to do that 
than the other thing. 

STARLOG: Some people who work in this 
genre put themselves above it, such as 
Lorenzo Semple, Jr. He told STARLOG in 
issues #74-75 that the only way for a writer 
to approach science fiction and fantasy is to 
make fun of the material. Obviously, you 
don't agree. 

KNEALE: No, because you're admitting 
from the outset that your story isn't going to 
be any good, really, so you'll just laugh at it, 
instead of saying you'll make it good and 
you're going to like it. 

Next issue: In the conclusion of this inter- 
view with Nigel Kneale, the longest this 
writer has ever given on the subject of his 
science-fiction work, he reveals the secrets 
behind his teleplays that have never been 
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(continued from page 35) 

recalls Ashley, awaited. 

"The Fox Network had always wanted 
Werewolf to be a one hour show. We felt it 
never worked as an hour and, for a while, 
we got our way. We were on Saturday night 
and doing fine when we were asked by the 
Fox people to move the show to Sunday. 

"Frank and I were reluctant because we 
knew, demographically, the show wouldn't 
fit in that time slot. But we wanted to be 
nice guys, so we agreed. Of course, we were 
right and the ratings began to fall. Finally, 
the people at Fox came to us and said, 'You 
have two choices. We'll move the show back 
to Saturday if you make it an hour or we'll 
cancel it if you won't.' We honestly felt that 
the show wouldn't work as an hour so we 
ended it. 

"But there are no hard feelings and, in 
fact, there's a possibility of our doing a two 
hour movie for Fox to conclude the 
Werewolf storyline." 

Ashley may not have that option with 
Something Is Out There. After a short 
hiatus for retrenching purposes, the series 
was given a new Friday night slot at 8 
p.m. — a time slot already promised to The 
Jim Henson Hour (scheduled to debut in 
mid- January). 

"They put us opposite Beauty & the Beast 
and ABC's sitcoms," laments Ashley. "But 
we pretty much had to go with what they 
gave us. Unless you follow The Golden Girls 
or ALF, it can be tough — especially in a 
business where you live and die by the 

Something Is Out There, in its new time 
slot, continues to die; much in the manner 
that another mini-series winner and series 
loser, "V", did. Ashley uses the comparison 
between the two shows as a jumping-off 
point to a discourse on the reality of the 
series grind. 

"We knew there would be inherent prob- 
lems going from mini-series to weekly series 
and many people told us going in that we 
were doing 'V again," explains Ashley. 
"Science fiction on television is particularly 
tough. You've got special FX and other 
elements that don't figure into most TV 
shows and, in the case of Something Is Out 
There, we also had a show that nobody had 
a firm handle on where it was going. 

"Television under normal circumstances 
can be a hard hustle. Doing Something Is 
Out There has been particularly rough." 

But John Ashley's latest pink slip 
hasn't soured him on the television process. 
He's "taking meetings" with both Fox and 
NBC about future series and remains upbeat 
on the promising birth and certain death of 
Something Is Out There. 

"It's just a matter of throwing the dice," 
he concludes. "Sometimes, you roll an 
A-Team. Sometimes, it comes up 
Something Is Out There. But one thing is 

"Somebody will always give you another 
roll of the dice." ■& 


(continued from page 48) 

meone who could "write in a Python style." 

"I don't know that I write 'in the Python 
style,' but they recommended me!" he 
laughs. "They were in pre-production and 
going ahead with the film at the time, and so 
it was nice to sit and chat with Tim Burton 
about it. Tim thinks I made it funnier and 
darker, which I think is true. I enabled him 
to see it in a slightly different way. I opened 
up certain aspects of it to him which he 
hadn't thought of. 

"I was really just doing some very minor 
fiddling with a very good script. I don't 
know how much of what I did survives, 
though, so I look forward to seeing it!" 

Fans who are worried about the casting of 
Michael Keaton in the title role, and heard 
that some in the media had earlier con- 
sidered the project a comedy, have little to 
fear, according to McKeown. Although 
there may be a few funny moments, he says 
the story is being played straight. 

"I never saw the TV show, which is prob- 
ably a good thing, but it's certainly not go- 
ing to be camp. It's going to be straight," he 
stresses. "I was familiar with the comic 
books, but I went by the script, which I 
thought was very strong. I knew the Batman 
character from the comics not from televi- 
sion. Somebody showed me The Killing 
Joke subsequently, after I had finished; it's 
good, beautifully drawn stuff." 

McKeown is reluctant to cite specific con- 
tributions to the script, simply because his 
changes may not be included in the final ver- 
sion. "There is this quasi-theological aspect 
of the Joker creating the Batman, and Bat- 
man creating the Joker — a nice symmetry," 
he remarks. "Batman, having created the 
Joker — for which he then feels tremendous 
remorse — therefore feels he must deal with 
the Joker. It's an interesting idea to have 
one create the other, an interdependence of 
forces for good and evil; they're both 
motivated by revenge." 

At the moment, McKeown is wearing his 
acting hat on the set of Erik the Viking, a 
Viking comedy adventure directed by 
Python Terry Jones. McKeown is playing 
the father of one of Erik's warriors, who are 
hoping to prevent the age of Ragnarok and 
the world's end. The production has just 
returned from Malta, where most of the 
water scenes were filmed. 

"It was hard work, but it was nice to see 
the rushes look so good," he notes. "We 
did the Hy-brasil scenes, the Promised Land 
down there. The Vikings discover this 
wonderful lost Atlantis-type city that sinks 
when someone gets killed there, so it's a 
place where people don't carry weapons. It's 
inhabited by the original hippies, and 
everyone believes that peace, love and being 
nice to each other is what it is all about — un- 
til the Vikings arrive." 

It's time. Charles McKeown, writer and 
actor, is called back on the set of the 
Norwegian fjord constructed on a London 
soundstage. Ragnarok awaits. ■& 



He gained a uniform 
nd lost his mom, 
jut he's still part of 
"The Next Generation 


s Star Trek: The Next Generation 
warps further into its second 
season, Wil Wheaton pauses to 
reflect on the show's first year and provide 
his insights into how child prodigy Wesley 
Crusher, the boy fans love to hate, has 
grown and will continue to do so. 

"There's still a lot of room for growth 
and development, not only in my character, 
but in every character on the show," 
Wheaton says. "But as far as a first season 
character, it developed very well. I would 
like to see Wesley do more normal personal 
stuff, though, a little less of the whiz kid. 
Not because all the die-hard Trekkies freak 
out about that, but because there's more to 
Wesley than just the whiz kid. He's a nor- 
mal teenager and should hang out with some 
people his own age." 

Wheaton, previously interviewed in 
STARLOG #129, describes his working 
relationship with executive producer Gene 
W. (for Wesley) Roddenberry as warm, but 
expresses a desire not to bring any concerns 
about his character's future to the "Great 
Bird." "We don't work directly with Gene. 
The only time somebody works with him," 
Wheaton reveals, "is when you have a pro- 
blem with a script or you have ideas." 

While Roddenberry doesn't direct the 
episodes, he does oversee them and ensures 
that each one earns the right to be called 
Star Trek. "That's a misconception I had 
about Gene. He is the guiding force, 
definitely, sort of the god on the show, but 
he's not directing. I can make all the sugges- 
tions I want to Gene, to the writers, but I 
really haven't. I hold high regard for him. 
He's one of the few people I really admire. 
He's up there with Donald Trump." 

Just as Wesley is now the youngest 
member of the Enterprise crew manning the 
bridge, so is Wheaton still the youngest ac- 
tor on the bridge set. Yet, Wheaton claims 
with an obvious glimmer of satisfaction, 
"the other cast members regard me as an 
equal. We all hang out together. We always 
go to lunch together. When we started out, 
Patrick Stewart suggested we all take 
nicknames in order to increase our familiari- 
ty with our characters. He suggested we call 
him 'Old Baldie.' " 

I ! v" 

Jonathan Frakes received the label 
"Dudley DoRiker." Brent Spiner was 
referred to as "Zippy the Android." 
"Turtlehead" quickly became Michael 
Dorn's new moniker. "I don't remember 
what we called Gates McFadden and LeVar 
Burton," Wheaton says. "Mine was 
'Youngerblood,' because one of our stand- 
ins [James "Youngblood" Becker] looks 
just like Rob Lowe in the movie Young- 
blood. Denise Crosby was 'Pookie.' " 

"Wesley never really knew his mom," says 
Wheaton. Now that Gates McFadden has 
left the series, neither will anybody else. 

The behind-the-scenes shenanigans con- 
tinued as the highly-rated first season zipped 
by. Wheaton and his fellow castmates 
bumped into their fair share of turbolift 
doors. Humor surfaced even while shooting 
Tasha Yar's death scene for the dramatic 
episode "Skin of Evil." "That was a joy to 
do. The episode was a real gem. But all that 
black goo!" Wheaton laughs. "Imagine all 
of us and all that goo, which was some sort 
of Jell-O-like substance. Let's just say 
there's still goo all over Stage 16." 

Nevertheless, Wheaton's favorite Trek 
anecdote isn't an hysterical flub or an 
unexpected pratfall. Rather, it's an everyday 

sight, for him, at least— the sayings tacked, 
stuck or otherwise mounted on the actors' 
respective dressing room doors. 

"Patrick's says, 'Beware: Unknown 
Shakespearean actor inside.' Jonathan's 
says, 'No theatricals, please.' I don't know 
what that means," Wheaton admits. 
"Gates' was 'Starring Gates McFadden as 
Cheryl.' Her real first name is Cheryl. 
Denise's door said, 'Denise Crosby starring 

Although she couldn't find a drink to suit 
him, Guinan (Whoopl Goldberg) still served 
up some advice more to Wesley's taste In 

"The Child." 

Wesley will be on the Bridge with Picard 
(Patrick Stewart) and Riker (Jonathan 
Frakes) more often now, but Wheaton 
would rather he "hang out with people his 
own age." 

as Lt. Pookie "Pooks" Yar.' Michael's 
door has all this Klingon writing on it which 
translates to something I can't remember. 
LeVar's says, 'Kunta, I don't think we're in 
Kansas anymore.' Marina Sirtis' says, 
'Token Betazoid,' and mine says, 'Token 
teenager.' " 

Performing with a cast as large and 
diverse as those of The Next Generation 
takes a degree of pressure off Wheaton as 
far as expectations regarding his 
performance. The flip side of such an 
argument, however, dictates Wheaton must 
be that much better in his limited scenes. "I 
guess it does take a lot of heat off me. Gosh, 
I never thought of it that way. You know," 
Wheaton decides, "that's weird. I never get 
really deep about acting. If you really start 
thinking about acting, you realize we're the 
most grossly overpaid professionals that 
exist. But your career can end overnight, so 
I don't even stop to think about it." 

68 STARLOG/Mwc/! 1989 

Mordock thrived on smoke, but Wheaton 
"could die from it." 

Of course, there have been changes in the 
series' second season — including the fall-out 
from Denise Crosby's well-publicized depar- 
ture and the much quieter exit of Gates 
McFadden, who portrayed Dr. Beverly 
Crusher, Wesley's mother and Captain 
Picard's would-be flame. 

"It's official. She has left. We had a very 
good working relationship, but I never got 
the chance to work with her!" Wheaton 
remarks. "We maybe had five or six scenes 
together. Wesley never really knew his 
mom, as far as the audience was concerned. 
That's the only thing I was really disap- 
pointed in." 

McFadden's departure affects Wesley in 
ways that Wheaton promises will be subtle. 
Besides, the other cast members who serve 
as surrogate mothers when the cameras 
aren't rolling can now do so on camera, too. 
"That's going to be interesting. Wil, and 
now Wesley, will basically have at least five 
moms running around the ship and set," 
Wheaton jokes. "But I honestly don't know 
why she left. I keep getting the urge to run 
around and pick up all the gossip, but I 
don't want to know. There are all these ma- 
jor [fan] organizations saying, 'Bring back 
Gates, bring back Gates.' It's sad because 
they're wasting their time." 

As for what will actually be happening 
throughout the rest of this season, Wheaton 
offers a few tantalizing hints, though he ad- 
mits his information comes from an often 
unreliable grapevine. "I can tell you it's my 
understanding the Romulans are going to 
come back as the bad guys and the Ferengi 
will end up like the Andorians. They're go- 
ing to be guest bad guys like the Gorn," 
Wheaton says. "He's in one episode and 
he's really cool and then they never bothered 
to bring him back. The Gorn is the greatest 
villain. He was rad. 'Arena' is one of my 
favorites. I think the Gorn should be 
brought back. 

"Gates was taken off by being transfer- 
red. I've moved to the bridge, so I won't be 
wearing my sweaters anymore. I really did 
not like those sweaters. They were part of 
the wardrobe, so I got used to them. Geordi 
will lose the banana clip. 

"They're going to operate and restore his 
vision," Wheaton reveals. "I've heard 
LeVar is getting vision problems. You see, I 
hear all these great rumors and before I can 
check out the facts, I've got to do inter- 

When discussing an ongoing problem 
which may plague him as long as he portrays 
Wesley, Wheaton turns serious. Whether 
out of jealousy or dislike for the character's 
precocious nature, many Trek fans confuse 
Wheaton the actor with the role he has 
created. An all-too-common sight at con- 
ventions are the countless "Crush Wesley," 
"Nuke Wesley" and "Destroy Wesley" 
buttons. Wheaton is neither deaf nor blind; 
he has seen the buttons and heard the 
whispers asking, "Why did Denise die in- 
stead of you?" 

"I understand that's not my fault," 
Wheaton acknowledges, "but it upsets me 
as a person to think there are all these people 
out there hating me and they don't even 
know me. They're hating me because of a 
superficial thing like a career or a TV show 
or something dumb like that. I left my 
public school. Many of the students were 
hating me without ever coming up to me 
and saying, 'Hi, I'm so and so,' and getting 
to know me. It hurts me a lot because it 
makes me feel like, 'Well, now I don't ever 
stand a chance with anybody because they'll 
hate me before they know me.' " 

Part of the tension hovering in the air at 
recent conventions attended by Wheaton 
may be the result of the no-smoking rule in- 
voked for his appearances. When it's reveal- 
ed that Wheaton is behind the ban, some 
conventioneers are riled, but the young ac- 
tor's request stems from a lung problem 
which hit him mid-season, not star vanity. 

Rumor even suggests Wheaton missed an 
episode due to the ailment. The actor rejects 
the notion, setting the record straight when 
he says, "I was sick during one episode I 
wasn't even in anyway. I'm much better. 
The only limitations I have now are that I 
can't scuba dive, can't hang glide, and I 
can't inhale cigarette smoke. 

"If I took up smoking, my potential mor- 
tality rate would skyrocket incredibly. If I'm 
stuck in a room with a bunch of smokers, 
it's a real hassle and I could literally fall right 
over from it. I could die from it. I enjoy the 
conventions. They're fun, but they're not 
worth dying for, you know? That's why at 
every convention, I ask them to impose that 
no-smoking rule." 

However, Wheaton is compelled to 
answer those who insist that Wesley's too 
smart for his own good. 

"People like Wesley really exist. I know 
people that are literally like that. Some of 
them are my friends," Wheaton says in 
defense of Wesley and other — real 
life — smart youngsters. "One of my friends 
is a genius, beyond the limits. People tend to 
think that Wesley is just talk, that he really 
doesn't know what he's talking about. I 
would think that, too, if I didn't know peo- 
ple like him." 

Unlike Wesley, though, Wheaton is 
(continued on page 72) 


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STARLOG Classified 475 Park Avenue South, NY, NY 10016 

Beware! STARLOG is not responsible for any product or service 

printed in this section. 


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on sword used in two Barbarian movies. HD 
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STARLOG/Marc/? 1989 69 


(continued from page 7) 

extras on SF TV shows like Star Trek: The Next 
Generation or Captain Power, it was the cartoon 
by Warren Drummond on page 6. 

Al Munro 

2558 Fifth Line West 

Mississauga, Ontario 

Canada LSK 1W3 

. . . Did someone give the "Abandon ship" order 
on the Enterprise! Must women still be the first to 
go in the 24th century? Deanna Troi must have 
sensed what might have happened if she were to 
complain about the thinness of her role and decid- 
ed to keep her mouth shut! 

With those two women exiting (McFadden and 
Crosby), I feel male dominance is rearing its ugly 
head again. I felt a great love story was developing 
between Picard and Crusher, two fiercely in- 
dependent and highly intellectual people. Scratch 
that storyline. I'm hoping Picard won't assume 
his predecessor's role of having a woman in every 


Pittsburgh, PA 

... As a 19-year-old female with my whole life to 
plan, Beverly Crusher was an excellent role 
model. She balanced a family and a career and 
she was good at it. 






The only positive thing I can say about this 
whole situation is that maybe the relationship be- 
tween Crusher and Picard will be explained in 
greater detail. Maybe Beverly could come back in 
future episodes, since she won't be dead, but it 
won't be the same. The way I see it all is that this 
is just as serious as if Bones had left the original 
Star Trek. A doctor should be there for his/her 
patients and if there's a new doctor every two or 
three years, then the families aboard the Enter- 
prise will lose a part of their security. 

Denise Crosby and Gates McFadden both 
gone? What a total waste of talent. 

Tanya L. Chang 

32 Aleutian Road 

Nepean, Ontario 

K2H 7C8 Canada 

...I've just read that Diana Muldaur will be 
replacing Gates McFadden as Chief Medical Of- 
ficer on Star Trek: The Next Generation. 

First off, I would like to say that I believe the 
choice of Muldaur is a good one. She is a great ac- 
tress and certainly not a stranger to the Star Trek 
universe. She was in several memorable episodes 
of the original show. She'll be an asset. 

Secondly, my concern is for the longevity of 
ST: TNG. I really think it is a good show. I hope 










Gene Roddenberry didn't bring in an older 
woman, closer to Picard's age, to turn the series 
into another Koenig/Helena, Tony/Maya show 
like Space: 1999 did. 

Now, I liked Space: 1999 also, but that has 
been done, and to ensure ST: TNG'% longevity, 
Roddenberry must keep it fresh and alive, not 
have the fans compare it to all the other failed SF 

I really believe they can pull off replacing Dr. 
Crusher with this fine lady, but please let them 
know that they musn't fall into the easy trail of 
copying others' storylines. 

Alan Andrews 

Mogadore, OH 

... I read the letters protesting Lt. Yar's "death," 
as well as the item about Gates McFadden's 
departure. Most people are very upset about the 
loss of such a strong female character. I agree 
completely, but fail to understand their surprise at 
the relegation of women to the secretarial pool 
once again. 

As a committed though not radical feminist, I 
have followed, supported and encouraged the 
women's movement in this country for years; a 
movement, sadly, which has fallen far short of its 
goals and now seems to be over. We have gained 
so pathetically little, after all our struggles: we still 
make only 64<t for every dollar a man makes for 
the same job; a female college graduate will earn 
less in her lifetime than a male high school 
dropout; we still have to struggle for the simple 
respect men accord one another routinely; we 
must fight to be taken seriously; and many career 
women find that their career is somehow not the 
"really" important one in the family, and that 
they're still expected to manage the household 
very much on their own. 

Given that the television and movie industry is 
male-dominated, and that men are products of 
America's woman-bashing society, how can we 
expect them to write strong parts for women? 
They have few examples, either in fiction or in 
their own lives, to draw upon for guidance. So 
they must rely on their fantasies, and I frankly 
think that most men haven't a clue as to what a 
strong woman is like. She is neither a monster 
mother-in-law nor a bitch in black leather and 
high-heeled boots. She is the Natasha Yar of the 
early episodes — intelligent, fair-minded, 
courageous, competent, well-trained, dedicated, 
and asking no favors but the chance to do her job. 
That's really all any of us ask, but oh the trouble 
we have getting it! For every Mimi Kuzak (she 
was the co-pilot of the Aloha Airlines jet that lost 
part of its cabin in flight), there are a thousand 
equally talented women who will never get a 
chance because they aren't to be trusted with these 
"men's" jobs. With our society as it is, can 
anyone wonder that we continue to use women as 
drudges, while the "real" jobs still go to men? 

We have a long way to go before we have true 
equality in our society; perhaps we will have to 
wait until 2388 to get it. Perhaps only then will we 
have people capable of writing, and appreciating, 
characters like Tasha Yar and Beverly Crusher. 

Karla Von Huben 

San Diego, CA 


... I am a loyal Star Trek fan. I am 13 and sort of 
a "newcomer" but I enjoy it. But the popularity 
of the Next Generation worries me. I like it, but 

70 STARLOG/A/a/rA 1989 

don't get me wrong. What little I've seen I like, 
but what's happening? I'm seeing more of Picard, 
Data and Riker and less of Kirk, Spock and Mc- 
Coy, and this worries me. I am afraid that the 
Next Generation will replace just plain old Star 
Trek. I want to hear more about Star Trek V, if 
there ever is one. What's William Shatner doing 
to prepare himself to direct? What's Star Trek V 
going to be about? 

Also, I miss the Vulcans aboard NCC 1701-D. 
Spock and the Vulcans were one of the reasons 
Star Trek lives today. I've read that Vulcans 
aren't completely out of the picture, just in the 
background. Please consider a Vulcan to take 
Denise Crosby's place. 

Star Trek: The Next Generation is good but has 
nothing on the first four movies. Seriously, I want 
to hear more of Star Trek V, a galactic war 
maybe, a sneak preview at least, just to reassure 
myself of a Next Generation for Kirk, Spock, 
Scotty and the rest. 

Graham Phelps 

Faylorsville, NC 

Stop worrying. You will hear more o/Star Trek V 
as well as the original Star Trek TV series (its 
guest stars, writers and directors). 

... I recently saw a great show with Jonathan 
Frid, Fools and Friends. Frid played Barnabas 
Collins in the old Dark Shadows series, which is 
still shown in reruns. 

During the intermission, the fans were talking 
and came up with the idea that Frid would be 
great in Star Trek: The Next Generation'. He 
would make a great doctor or a new character. A 
Vulcan maybe? 

We need Frid back on TV and Star Trek: The 
Next Generation needs the shot in the arm Frid 
could bring to it. 

Henry Hume 

Address Withheld 

. . . Recently, I had the privilege of seeing and 
hearing Patrick Stewart at his first SF convention. 
I use the word "privilege" purposefully, because 
Stewart gave us a visit that was stunning. He 
garnered everyone's renewed, strengthened 
respect for him with his intelligence, warmth, 
honesty and criticisms. His defense of Wil 
Wheaton in answer to a detractor was satisfying 
to behold and he countered a few other insensitive 
questions with alternate humor and forcefulness. 

Anyone who has not had the good fortune to 
be in Patrick Stewart's company yet has this to 
look forward to: it will be a rare, delicious treat. 
Just in sharing his 25 years of acting with us and 
relating other life incidents, he not only entertain- 
ed us, he has taught us. It was so completely 
refreshing to be in the presence of someone who is 
a star yet«didn't act in the last bit naughty, cranky 
or spoiled. Stewart signed so many autographs 
and spoke with such a crush of people, with 
humility and concern, that some were worried his 
arm would fall off or he would lose his voice com- 

Thank you, Patrick Stewart. We'll always 
remember you! 

Stephanie K. Kansa 

17022 N. 66th Drive 

Glendale, AZ 85308 


... I'm a longtime collector of STARLOG 
magazine. One thing that bothers me is the readers' 
reaction to critical reviews. Why is it every time a 
major motion picture is released to bad reviews, its 
fans feel they must rise up in droves to defend 

"their" movie? I'm referring specifically to 
"Willow Wars" in the Communications section of 
STARLOG #135. Why do people have to get 
angry? Star Wars is one of my favorite movies of 
all time, but that doesn't necessarily mean that I 
like every Lucas movie ever made. Howard the 
Duck was a bad movie. Willow was also bad. 
General Kael is a Darth Vader clone and so on. 

My point is that readers should write in and 
point out what they liked about the movie, rather 
than insult the critics. Some of the comments were 
ridiculous. One reader even went so far as to sug- 
gest movie critics should become "sewage 

In that same issue of STARLOG, Kerry 
O'Quinn wrote, "Most of the time, SF fans are 
seen and judged by the rest of the world for our 
strangeness." Someone who isn't a reader of SF 
who happened to pick up and browse through the 
magazine would probably think we're all a bunch 
of childish name-callers. 

Personally, if I like a movie, I don't care what 
the critics say about it. If anything, SF teaches us 
compassion and a toleration of ideas that might not 
necessarily agree with our own. 


441 Paula Court #6 

Santa Clara, CA 95050 

. . . I've just seen a report in STARLOG #133 that 
the Martians are about to awaken from their 
35-year hibernation and continue this darn war in 
the TV series called War of the Worlds. I just can't 
believe this could happen. Why wouldn't the 
humans try and make peace with those creatures? 
Why won't the Martians shake hands with the 
humans instead of just giving them death? After 35 
years of living in peace, before my time, why are 
the Martians after us again? 

Adam DiHall 

8358 Crestwood Avenue 

Munster, IN 46321 

Because we're here. 

. . .When I heard that Batman was going to be 
made, I was thrilled. I was happy that someone 
really cared about the character of the Dark Knight 
and that the movie was going to be made like the 
comic-book hero I've come to know and enjoy. 

That is, until Michael Keaton got the part of Bat- 
man. Now, let's face it, Keaton isn't the Batman 
type; he's more like the Joker, although they've 
already picked a great Joker. 

I hope Tim Burton will realize that Keaton will 
not do Batman any justice as far as the character is 
concerned, and I think that Bob Kane, the creator 
of Batman, will probably agree with me. 

I want to know if there are other Batman fans 
who agree with me. I would like to hear from you. 

J.D. Butler 

PSC Box 2762 

APO, NY 09127 

Hope you're ready for the Bat-onslaught of anti- 
Mr. Mombat mail, but don't count Bob Kane 
among them. You'll hear more about Batman (and 
Kane) in future issues of STARLOG and COMICS 

... I would like to thank STARLOG for the great 
interview in issue #133 with that maestro of film 
music, Jerry Goldsmith. I've been a fan of his 
scores since I started collecting soundtracks eight 
years ago. I now have 37 Goldsmith scores and 
I'm eagerly awaiting Warlock and Leviathan. 

"Madam, you are gravely mistaken. I 
DON'T CARE if you are unsatisfied with 
your oven roaster!" 

You can feel that emotion is the most important 
subject of his music. 

I was also touched by Kerry O'Quinn's article 
about the Dutch boy who loves these movies so 
much and whose admiration for George Lucas, 
Steven Spielberg and John Williams I share with 
the whole of my heart. Because I feel exactly the 
same way. Their movies keep me going. I lost 
both my brothers and often search for something 
to share my enthusiasm because I could talk about 
movies and soundtracks the entire day, too. I feel 
we share the same dream. I was also thinking of 
going to a film school in Brussels but I might have 
to postpone it for a while. If Juren is interested in 
getting in touch with me, we could correspond. 

Luc Van der Eeken 

4 Vrijheidstraat 

3200 Kessel-Lo 


. . .Where can I begin? I've read many issues of 
your magazine now and already love it! I might be 
able to subscribe to your mag; it all depends. A 
13-year-old like me isn't usually rich. Hopefully, I 
can manage it, because I love your magazine! It's 
the only one I know that accommodates all the in- 
terests of a devoted SF freak like me. My favorite 
SF programs and books are Blake's 7 (the best!), 
Hitchhiker's Guide quartet, Doctor Who, and the 
new Star Trek. I like many of your articles, but 
I've noticed a few things in your letters that I have 
to comment on. 

In issue #130, Susan J. Paxton is calling my 
favorite TV show esoteric! If more TV stations 
showed this awesome program, maybe it would 
be more appreciated. It is the most constantly 
entertaining show I've ever seen. I couldn't say 
that about Doctor Who or any other show. Every 
single episode is great! That's all there is to it. Bot- 
tom line. And certainly if the show is "esoteric," 
then there should be more about it for the fans 
who love it! Battlestar Galactica is surely even 
more "esoteric" than Blake's, especially judging 
from Paxton's own letter. And Jackie Heninges' 
letter. That's like saying, "I think pizza is 
disgusting and utterly revolting, but go ahead and 
eat it, I don't care!" 

Andrew Simchik 

119 W. Grove Street 

Oneida, NY 13421 

STARLOG/Mwr/z 1989 71 



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(continued from page 40) 

(RoboCop) Dupuis, whose elaborate 
makeups in The Fly earned him an Oscar, 
returns on Fly II to reprise his FX magic. 
But no matter how well designed or how ex- 
pertly applied, wearing makeup and ap- 
pliances can be a tedious, even painful ex- 
perience for some actors. It takes a special 
kind of stamina to endure hours in a 
makeup chair, and a special kind of self- 
confidence to bury your features — an 
actor's major asset — beneath layers of latex 
and "pancake." 

Stoltz is lucky, though, in being a relative- 
ly "old hand" at makeup. In Mask, he was 
required to hide his features while playing 
the role of a congenitally-deformed boy. 

"Mind you," Stoltz observes, "I'm not 
very objective at this point, but it seems to 
me now that Mask was a harder makeup 
picture than Fly II. In Mask, I had to have a 
four-hour makeup session every day for 
four months in the heat of a summertime 
Los Angeles. By contrast, the makeup 
scenes in Fly Hart only two or three days of 
each week. I must admit, though, that as 
time goes by, I'm getting a little bit more 
tense about the Fly makeup, maybe because 
I'm not doing it every day so it's not as 
familiar to me." 

Though he has no qualms about acting in 
heavy makeup, he does have one phobia. 
"Tomorrow is going to be the most difficult 
scene I've had on Fly II," Stoltz confesses 
grimly, "because in addition to makeup, 
I'm going to have to wear a contact lens. I 
have an overwhelming fear of anything be- 
ing put over my eye. But at least I'm not go- 
ing to wear makeup in 100-degree heat." 

While grueling, Mask offered other com- 
pensations, not the least of which was work- 
ing with Cher (Witches of Eastwick) and 
Sam (The Legacy) Elliott. "They're both 
tremendous, wonderful people," Stoltz en- 
thuses, "and I have nothing but fond 
memories of working with them. I think 
Cher's public persona — the flamboyant 
costumes, etc — is also her private self. She 
likes to dress up, since she's a kid at heart." 

Fly II isn't Stoltz's only brush with SF. 
The actor was originally slated to play the 
lead in Back to the Future. In fact, several 
weeks' footage was lensed with Stoltz before 
Michael J. Fox succeeded him in the part. 
Asked for his version of the casting con- 
troversy, Stoltz gets a mischievous look in 
his eye. "The sequel will all make it clear as 
to why I wasn't in the original film," he 
says. "The professor and the kid get in their 
magic time car and go back to the period 
when I was in the cast!" 

After Fly II wraps, Eric Stoltz has no im- 
mediate plans. "I'm going to sleep for a 
month!" he quips, but has no acting jobs on 
the horizon. He also has no "game plan" in 
regard to his career, no major goals or lofty 

"I guess you could say," he muses, "that 
I'm just trying to enjoy the work I'm doing, 
and just taking things as they come." •& 


(continued from page 68) 

energetic and always in motion, gesturing 
broadly with his hands for emphasis. 

"I'm much more flamboyant and eccen- 
tric than Wesley. Now that's a quote. I'm 
the most outgoing in my entire group of 
friends, and the most obnoxious. To play 
Wesley is a matter of turning myself off. 
That's how I act. I turn myself off and my 
character on. When the director says 'Cut!', 
I'm back to being Wil." 

Being Wil allows Wheaton to laugh and 
smile again while sharing his enthusiasm for 
the original Star Trek series. He owns 
videotapes of all 79 episodes and the four 
movies, and is eagerly following production 
of Star Trek V, a few soundstages away 
from the Next Generation sets. Though the 
odds of a collaboration between the new 
wave and the old guard are astronomical at 
best, Wheaton describes the original series 
cast members whom he has encountered as 
pleased with the revamped Trek. 

"Walter Koenig has said he really likes 
the show. Jimmy Doohan was actually on 
the ship set. That was really funny," 
Wheaton recalls. "Our walls are all metal. 
When he left, I walked through the corri- 
dors and there were all these magnets all 
over the place saying, 'Beam me up, Scotty. 
I don't think there's any intelligent life down 
here.' " 

Despite agreeing with the logic which 
rules out a merging of the Star Trek casts, 
Wheaton can't help but fantasize. "We're 
pursuing a Romulan battle cruiser at Warp 
Eight," the 16-year-old envisions. "A near- 
by star has just gone supersomething or 
other. The star has sucked itself in and 
there's this hole in space. The Romulans are 
passing over it right before it all happens. 
They get pulled in." 

The Enterprise gives chase, entering the 
black hole. Through unexplainable forces of 
nature, Captain James T. Kirk's Enterprise 
has come to face a similar situation in the 
23rd century. "All three ships wind up in a 
time unfamiliar to all of them, and the two 
Enterprises have to join forces to defeat the 
Romulans. That's it," Wheaton concludes. 
"That's my big idea. It'll never happen." 

Though Wheaton intends to seek other 
roles between seasons which provide room 
for growth as an actor and help him avoid 
being typecast as Wesley Crusher forever, he 
genuinely looks forward to growing up on 
screen before millions of viewers over the 
next few years. "How cool!" Wil Wheaton 
enthuses. "Look at Tina Yothers. I've wat- 
ched her grow up on Family Ties. We've 
been friends for a while. When she's a 
grandmother with grandkids, she can take 
the tapes of Family Ties and pop them in the 
VCR and say, 'This is what I looked like as 
a little kid,' and put in six or seven different 
shows over the course of seven years. They 
can watch her grow up. That's amazing. 
That would be really rad to watch myself do 
that. Yeah, I'm looking forward to that. 
Who wouldn't?" & 

Please allow 4 to 6 weeks for delivery. 


(continued from page 9) 

Batman cast: Catherine (Beetlejuice) 
O'Hara, model Jerry Hall and Tracey 
Walter (the scruffy character actor seen as 
Frog in Best of the West and in such movies 
as Conan the Destroyer, Repo Man, Rag- 
gedy Man, Something Wild and Married to 
the Mob, among many others). You'll know 
Walter when you see him. 

Fantasy Films: The phenomenal success 
of The Phantom of the Opera musical 
(STARLOG #139) has, needless to say, led 
to revived film interest in Gaston Leroux's 
creation. Cannon Films is producing a new 
film version of Phantom of the Opera with 
Robert Englund in the role and John (In- 
cubus) Hough as director. It's supposed to 
be a faithful version of the oft-filmed story. 
Meanwhile, Warner Bros, is preparing yet 
another Phantom, one set at the Paris 
Opera House in 1940, thus adding Nazis and 
the WWII milieu to the formula. Wolfgang 
(Enemy Mine) Petersen (STARLOG #104) 
will direct this one, from a screenplay by 
James (Fatal Attraction) Dearden. There's 
at least one other Phantom-derived movie in 
the works as well as a Broadway-bound 
stage musical version of Brian De Palma's 
movie Phantom of the Paradise. And of 
course, a movie version of the current 
musical which begat all this begatting is also 
warming up the wings. Certainly seems 
there'll be enough Phantoms to go around. 
— David McDonnell 


With the remarkable box-office perfor- 
mance of Who Framed Roger Rabbit, 
Back to the Future and Romancing the 
Stone, Robert Zemeckis has now made three 
hit films in a row. 

But it wasn't always this way. If now is the 
highest point yet in Zemeckis' career, the 
lowest point was just eight years ago. 
Zemeckis, a 1973 graduate of USC film 
school, had directed and co-written / Wanna 
Hold Your Hand (1978) and Used Cars 
(1980) with Steven Spielberg as executive pro- 
ducer, and had co-written 1941, which 
Spielberg directed in 1979. None of the three 
films was a commercial success, and 1941 
brought substantial criticism. 

Looking back, the filmmaker is philosoph- 
ical. "It's sad when they don't go, and it's 
great when they go," Zemeckis says. 
"There's nothing you can do about it — you 
never know. I mean, you just have to do 
what you have to do, and you can't ever 
think that you know what anybody wants to 
go see, because you don't. You just have to 
hope that people's tastes are the same as 

"I make certain films because I personally 
want to see them, and then I hope that so- 


Someone's dead?! And it isn't Penn Jiilette (kneeling). But it could be his partner 
Teller (sprawled). Together, they're Penn & Teller— and in their first major (or minor) 
motion picture directed by Arthur (Bonnie & Clyde) Penn (no relation). Watch as Penn 
& Teller Get Killed sometime this year. 

meone else does. And that's the only criteria 
that I use, because no one really knows. It's 
much more fun when films are successful." 

Bearing this in mind, Zemeckis (who dis- 
cussed his movies in STARLOG #85, 99 & 
134) doesn't let people's enthusiasm about his 
current string of successes go to his head. 
"Everyone expects you to do it again," he 
notes. "But I do it because I enjoy doing it. 
And I always hope that a film will make one 
dollar profit, because I don't want to ever 
lose money for the people who had the cou- 
rage to support me financially with these 
films. But I do it to do it, and if I started to 
think that I could ever know what's going to 
gross $200 million, I think I would be sadly 

"I feel that way, because of those four 
films that I've directed [prior to Roger Rab- 
bit], they had all been wonderfully received 

Visiting Toontown with pals Roger Rabbit 
(center) and Bob Hoskins (right), director 
Bob Zemeckis says, "I make certain films 
because I personally want to see them." 

critically, and even when people were brought 
into the films that were failures, to test them, 
they tested very well. So, in other words, I've 
always felt that the quality of films is consis- 
tent: I can't sit here and say, 'Oh, well those 
films were unsuccessful because they weren't 
very good' — I felt they were all good. As a 
matter of fact, I think I'm maybe the most 
proud of Used Cars, because of its screenplay 
which I wrote with Bob Gale." 

— Adam Pirani 


OK. I just threw out the first six paragraphs of these 
notes. They're gone. Went to Albuquerque. Left no 
forwarding address. 

They were sort of funny and a theme — that concept so dear 
to magazine editors, SF paperback anthologists and talk show 
hosts everywhere — was sort of developing, a weak theme to be 
sure, but it was buried somewhere in there if you looked real 
close with a magnifying glass and pliers. 

Then, I realized it. Those graphs were taking excruciatingly 
long to compose. Usually, I whip this out in a red-hot, three- 
four hour session, mostly oblivious to all around me. However, 
this time, writing every sentence was slow death. Every comma, 
noisy agony. Every indention, neon torture. The day dragged 
on. The Sun set in the East. Or the West. Wherever it was 
supposed to set. And the pain continued. 

"This isn't working," I said. "Think I'll become an editor." 

So, I tossed it all away. The funny stuff. The weak stuff. 
All that hellishly superb punctuation. And instead, there's this 
more utilitarian approach, sort of bare bones, with no pseudo- 
philosophy (that's available in quantity elsewhere) and very lit- 
tle bricbrac. Works just as well and gets us to Joe Dante quicker. 

I've loved all his movies — except Explorers — and I am well 
aware of his love and extensive knowledge of the genre. Hey, 
Joe used to write for magazines just like this one — specifically 
my favorite, the late Castle of Frankenstein. And Joe knows 
Nigel Kneale ("Tom" to his friends), the legendary British 
writer who's chatting with STARLOG's Bill Warren in the 
extensive three-part interview which began last issue. 

"Now," you might ask all utilitarian-like, "that's a real long 
interview. Why should I invest my time to read it alP." 

Our expert witness, Joe Dante. 

"Of all the people who have written science fiction directly 
for the screen, TV or movie, Tom is the best," Joe Dante 
explains. "I'm not sure that his talent has been accurately 
reflected in the final screen versions, but even so the quality of 
the five SF films his name appears on is quite a bit higher than 
what's being made today. The stuff he wrote in the 1950s was 
topical, and he hasn't had much opportunity to do this lately. 
This interview is important in placing him in the context of the 
history of science-fiction films." 

Thanks, Joe. Joe will be signing autographs in the hallway. 
Look for his new black comedy from Universal Pictures, The 
'Burbs, opening this spring. 

Speaking of spring (OK, so it's the best transition a 
utilitarian guy can think of), I'll be out on the road myself, 
talking to STARLOG readers at my home away from home, 
SF conventions. On February 11-12, I'll be at the Masonic 
Temple in Scranton, PA with my pal Star Trek novelist Ann 
Crispin. It's a special father and son celebration, courtesy 
Dreamwerks, starring Leonard Nimoy (Saturday only) and 
Mark Lenard (Sunday only). Then, on March 4-5, I'll be at the 
Holiday Inn Ashley Plaza in Tampa, FL at Vulkon with my 
pal Star Trek novelist Jean Dillarti and special guest star Walter 
Koenig. Both weekends present perfect opportunities to find 
out more about Star Trek V at great cons I really enjoy (that's 
why / keep going back). See you there, all you Floridians and 
Pennsylvanians. And you Utilitarians, too. 

How did 
Eric Niderost 
get to the 
studios where 
The Fly II 
filmed? By 
telepod, of 
course. The 

Elsewhere, I should note that we are indeed doing a second 
series of Star Trek: The Next Generation magazines. The initial 
second season edition, inappropriately numbered Volume 5, 
should be on sale already, with Volume 6 to follow in a few 
weeks, circa February 23. For info, see page-63. But don't 
write your congressman. He knows nothing about this. 

Also debuting that very same February 23 is issue #6 of 
COMICS SCENE, the first of its bi-monthly incarnation. 
There's nifty stuff galore on hand, including interviews with 
James Bond's Mike Grell, Justice League's Keith Giffen, 
Daredevil's Ann Nocenti, Ms. Tree's Max Allan Collins and a 
couple of legends— namely that "good duck artist" and pal of 
Uncle Scrooge, Carl Barks and the man who created Batman, 
Bob Kane. You'll also see a bit more of the Batman and 
Swamp Thing movies, meet STARLOG's Batman contest 
winner and encounter another side of the Boy of Steel, John 
Haymes Newton (who portrays Superboy in syndicated TV 
adventures). Plus, there'll be ads and all those things you've 
come to expect from any good magazine: a masthead! Page 
numbers! And maybe even an upcoming issues box (as below). 

Which brings me to a clarification. I've found myself recent- 
ly chastized by readers who still believe that what's listed below 
is what we solemnly promise will be in the very next issue. 
Tain't so, McGee. (Am I dating myself?) It clearly says "the 
future in STARLOG" there in bold type, not "next issue." All 
of those articles will appear — maybe not today, maybe not 
tomorrow, but someday, not necessarily next issue. 

There's a very utilitarian reason why: I'm never completely, 
undeniably certain just when some articles will be published. 
There may be deadline problems (on the part of writers and 
editors), a lack of photos (as afflicted one story rescheduled to 
this very issue) or an abundance of text/corresponding scarcity 
of space (which postponed another piece to this ish). All of 
those things can delay an article at the very last minute. Thus, 
promising those stories in the general future instead of the 
specific future (of a next issue) allows all options kept open. 

Seems like the utilitarian thing to do. 

—David McDonnell/Editor (December 1988) 

The future in STARLOG: It's off to The Final Frontier as William Shatner launches Star Trek V. . .Jeff 
Corey reflects on the horrors of blacklisting while leading a mob against Superman and the Mole 
Men. . .Charles Schneer looks back at his life's work in fantasy, producing the magicks of Ray 
Harryhausen. . .Andre Norton talks of writing Witchworld and the wonders of science-fiction 
literature. . .director Nathan Juran (in a rare interview) sets sail on The 7th Voyage of Sinbad. . .and 
Terry Gilliam steps behind the myths and legends to unleash The Adventures of Baron Munchausen. 
The fables begin in STARLOG #141, on sale Tuesday, March 7, 1989. 

74 STARLOG/Aforc/i 1989 

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estrved and Enjoyed Foreva 







1988 Paramount Pictures Corporation. Aii Rights Reserved. STAR TREK is o Registered Trademark of Paramount Pictures Corporatior, . 

The entire spectrum of the STAR TREK Universe— the crew, their adventures, their symbols— are 
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